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A 

HANDBOOK OF POETRY. 



/. 



LONDON : 
PRINTED BY WOODFALL AND KINDE. 

MILFORD LANE, STRAND, W.C. 



HANDBOOK OF POETRY; 



A CLEAK AND EASY GUIDE, 



DIVESTED OF TECHNICALITIES, TO THE 



%xt af glahing $nglisjr Wmt. 



J. E. CAEPEXTEE, 

KD1TOR OF "PENNY READINGS IN PROSE AND VERSE," "POPULAR READINGS," ETC. 
AUTHOR OF TWO THOUSAND SONGS AND BALLADS, ETC. ETC. 



TO WHICH IS ADDED 

A NEW POETICAL ANTHOLOGY, 

AND 

A CONCISE DICTIONABY OF PEOPEB, EHYMES, 

WITH LISTS OF DOUBLE AND SINGLE RHYMES, AND 
TEPvMS USED IN POETRY. 



V 

LONDON: 

SAMPSON LOW, SON, AND MARSTON, 
CROWN BUILDINGS, FLEET STREET. 



18(18. 
[All rights resi • ■■■ . 



^ 



D^> 



£> 



PREFACE. 




T a time when " Handbooks of History," 
"Handbooks of Chemistry," "Handy Books 
of the Law," and other short cuts to general 
knowledge or useful information, find a ready acceptance 
on the part of the public, the little treatise contained in 
the following pages may not be without its utility, or un- 
acceptable to that large class who now, in the thousand- 
and-one periodicals of the day, cultivate the Muses for 
pleasure and recreation, if with no higher aim and object. 

So totally devoid of anything like even an approach 
to " inspired verse " are most of the effusions admitted 
by too willing editors, so faulty in construction and false 
in rhyme are most of the verses of " The Poets' Corner " 
and the magazine column, that the authors themselves 
must not unfrequently be cognizant of their deformity, 
when they see them reflected in the light and glare of 
leaded or double-leaded print. 

And yet, with a little care and study, how easily might 



vi PREFACE. 

this be avoided. Not that any treatise on Poetry can 
make an Inspired Bard, any more than conld the mere 
pernsal of a few books make an individual of feeble 
mind a deep thinker; but it can, at least, do this — it 
can make him write correctly, if not forcibly ; and a care- 
ful study of the following pages, it is to be hoped, will 
enable all but the wilfully ignorant to judge of their 
own writings, and so to remodel and correct them as, 
at least, to render them free from those objections so 
offensive to a fine ear and a cultivated taste. 




CONTENTS. 



CHAPTER PAGE 

I. Introductory 1 

« 

II. On Rhymes . . . ■ . . . 7 

III. On Rhythm 23 

IV. On Style 53 

V. On Ornament . . . . . . .68 

VI. On Song Writing 77 



A NEW POETICAL ANTHOLOGY . . 93 
A CONCISE DICTIONARY OF PROPER 

RHYMES 197 

A LIST OF DOUBLE RHYMES . . .258 
A LIST OF TREBLE RHYMES . . .277 
TERMS USED IN POETRY AND POETICAL 

CRITICISM 283 



HANDBOOK OF POETRY. 



CHAPTEE I. 

INTRODUCTORY. 




OETRT is the art of expressing our ideas in 
verse, or musical cadences. It is formed by 
dividing the language employed into lengths, 
called measures or rhythm, which lengths (except in 
blank verse) are terminated by a word having the same 
sound as the word which concludes its corresponding line. 
This is called Ehyme. 

Nothing is easier than to rhyme correctly; yet in 
nothing has this first principle of the art of poetry been 
so frequently departed from, and this even by many of 
our standard poets. To a great extent this is no doubt 
to be accounted for by an auscultatory defect on the part 
of the rhymer ; the same individual who could not detect 
when he, or another, was singing out of tune, would not 
detect a false rhyme if he made or read it; and this 
remark will apply with equal force to rhythm. It is not 
always necessary that a line and its corresponding line 



2 A HANDBOOK OF POETRY. 

should contain precisely the same nnmber of words or 
syllables; but it is necessary that there should be the 
same accent in both, the same rise and fall, the same 
musical flow, so to speak ; and this is determined by what 
is called " scanning." 

I shall not in this treatise, which is intended for the 
purely uninitiated, adopt many of the old technical terms 
in accordance with which our fathers built up their poems 
and formed their versification : most of these have long 
since been exploded. Poetry is no longer confined to any 
arbitrary form of verse ; she may take a hundred varied 
shapes, as in Southey, or the poet may invent new 
measures if he can; but there are first principles from 
which he can never depart. Like the musician, he must 
know how and when to resolve his discords, for in both 
cases perfect harmony must pervade the whole. 

That there are exceptions to the rules for making verse, 
I am not prepared to deny ; but if I am asked why these 
exceptions are not pointed out, I must reply that the 
strictest rules that can be obtained are the best by which 
to study any art. The exceptions will present themselves 
as difficulties occur: to point out an easy means of 
getting over them would be to make the student careless, 
and cause him to avail himself of them habitually, rather 
than to face and overcome them. 

]STo one, not even an inspired poet, a born one, can 
commence without some knowledge of what rhythm is 
capable of, of what others have done before him. Burns,. 



A HANDBOOK OF POETRY. 3 

who sought for his inspirations in natural objects, could 
not have written if he had not previously heard the 
peasant songs of his native land. To one less inspired 
than he, a long course of study, and that of the best 
writers, would be necessary to inform him what rhymed 
and measured language is capable of achieving ; hence, to 
those who would draw music from the mystic lyre, I 
would say, read the best poetry you can procure, and read 
every style, before you attempt to form one for yourself. 
When you think you can do so, write directly from your 
own feelings ; work after the best models if you will, but 
let the material be your own. 

By these means, and by avoiding those solecisms upon 
which others have blundered, and which I shall endeavour 
to point out, you will be able to write correctly. In 
choosing your subject, avoid, if possible, those that have 
been treated of by others : life is so full of variety, and 
natural objects are so abundant, that there can never 
be a dearth of subjects for poetry. Of course there are 
subjects upon which all poets have exercised their 
talents, and which are common property; with such it 
is not so much the object, as the method of treating 
it, that constitutes the poem. The thought it inspires, 
the association it awakes, must be your own; and the 
language in which you clothe it must spring from 
within, and not be, as is too frequently the case, a 
mere paraphrase of what others have thought and 
written upon the same subject. 

b 2 



4 A HANDBOOK OF POETRY. 

The various kinds of poetry have their distinct appel- 
lations, but they are sometimes run into and blended 
with each other, so as to render their classification 
difficult. They may be said, generally, to be : — 

Dramatic Poetry. That which is capable of being 
represented on the stage, and divided into acts and 
scenes ; and also poetry written in the dramatic form, 
but not intended for representation. Blank verse is 
the medium usually employed in forming the language 
of the persons represented. 

The Epic, or long narrative poem, generally heroic 
in its nature, but sometimes purely imaginary. Inci- 
dent, scenery, action, and the reflections of the author, 
form the whole, which may be in blank verse, couplets, 
or irregular rhythm. 

Lyric Poetry, which includes the ode, the song, the 
ballad, and the sonnet, as well as those trifles in verse 
in which the author gives expression to his thoughts 
and feelings. 

Didactic Poetry is that upon which the perceptive 
powers of the poet are brought to bear, and in which 
a moral precept is inculcated. 

Pastorals, peculiar to the older writers, were idyls, 
or short poems, devoted to pastoral objects, sometimes 
called Eclogues. 

Narrative Poems, imaginary tales, and historical 
ballads, differ from each other only as their designation 
implies. 



A HANDBOOK OF POETRY. 5 

The student, having made choice of a subject, will 
determine under which of these classes he proposes to 
carry it out, and direct his studies accordingly. 

Never be deterred from writing on a subject because 
it does not, at the first blush, appear to be a poetical 
one: there are objects which are poetical in themselves 
from their own innate simple beauty, as a star, a 
snow-flake, a rose, a waterfall, a bird, a flower, or a 
rivulet. Others from their grandeur, as a storm, a 
mountain, the sun, the ocean, or a battle ; but, on the 
other hand, the most common-place objects have 
afforded scope for poetry of a very high order. An oak 
table, a walking-stick, a shilling, a bucket, a lamp, a 
bundle of rags, an old horse, all have been treated of 
successfully ; but it must be remembered that mere des- 
cription won't do ; your poem must contain a sentiment — 
the picture must call up some feeling, call back some 
memory. The association that your own mind may 
invent, or your experience suggest, will supply this. 

If my reader imagines that this " handbook " will 
make him a poet, let him undeceive him self at once. 
It professes to do nothing of the sort; its object is to 
assist him in the cultivation of his genius, if he has that 
within him which may lead to future excellence, by 
pointing out to him what to avoid, that he may become 
his own critic, and so spare himself the humiliation of 
having errors pointed out when too late to mend them. 
The method of writing poetry he may to a certain 



6 A HANDBOOK OF POETRY. 

extent learn by rule ; the manner must be the reflection 
of the light that shines from himself. It is by the man- 
ner rather than the method that one poet surpasses 
another in power, grace, feeling, fancy, and all that 
constitutes the attributes of a true poet. 





CHAPTER II. 

ON RHYMES. 

RHYME is the word which terminates a line 
of poetiy, when it agrees in sound with a cor- 
responding line preceding it. Rhymes may be 
single, double, or treble, as — "Loye" and "Dove," 
single ; " Sorrow" and " Morrow," double ; " Tenderly " 
and " Slenderly," treble. 

It is not absolutely necessary, in writing lyric poetry, 
that every line should have its rhyme ; many poets rhyme 
only tke alternate lines. It is better, however, that all 
the lines should have their rhymes, either in couplets, 
i.e., folbwing each other, or in alternate lines (of triplets 
and suspended rhymes I shall speak hereafter), and in 
writing verses that are intended to be set to music, 
especially so. 

Strictly speaking, nearly all those terminations which 
are called double or treble rhymes (i.e., when words of 
two or three syllables are employed) are not so. A 
rhyme is a simple or single sound, corresponding with 
another single sound with which it vibrates in unison, 
as so many notes struck upon an instrument correspond 
with the same notes struck an octave above or below them. 



8 A HANDBOOK OF POETRY. 

Two words or syllables precisely alike are not rhymes, 
hence in " sorrow" and "morrow," the rhymes are "sor" 
and"mor," and in "slenderly" and "tenderly," "slen" 
and " ten ; " the concluding syllables, being the same word, 
are not rhymes. It is always on the first syllable of 
double and treble rhymes that the accent falls ; and they, 
of course, constitute the rhymes. Where a word of three 
syllables is employed to rhyme with a monosyllable, the 
accent must be on the last syllable, as " shade " and 
" colonnade ; " the rhymes being " shade " and " nade," 
both single rhymes. 

When a word is used where the accent does not fall 
on the last syllable, a ludicrous effect is produced, as 
the following example, notwithstanding "rain" and 
"cane" would be good rhymes, the accent agreeing, 
will show: — 

Pelting, undermining, loosening, came the rain ; 
Through its topmost branches roared the Aitm-cane. 

Words of two syllables having their second syllable 
the same as the word to be rhymed to, as G-ipsey's 
"tent" to "content," cannot be used. 

There are many words that ought not to be used as 
rhymes, and consequently ought never to end a line, 
viz., the particles an, and, as, of, the, is, &c. Borne of 
these have been used by the old poets, but theyi are not 
admissible into modern verse. Beaumont and Fletcher 
have the line — 

Every little flower that is, 



A HANDBOOK OF POETRY. 9 

and rhyme "is" to "kiss," which is a false rhyme, 
according to modern accent. 

Words of more than three syllables, which have their 
accents far removed from the final syllable, should never 
be nsed as rhymes. Such words as "vindicated" having 
their accent on the last syllable but one, are allowable, 
because they will come in with the double rhymes, as 
" stated," " mated ; " and the three- syllable words having 
a similar accent, as " debated," " elated," &c. The simple 
rhyme in all these is the " ate," the other sounds being 
weak and languishing, or unaccented. 

There are many words ending in "ove," which have 
three distinct sounds, but which are used by some writers, 
as rhymes, indiscriminately : this is incorrect, and should 
at all times be especially avoided. Love, Prove, and 
Rove, though they rhyme to the eye, do not rhyme to 
the ear, and there is a sufficiency of rhymes to each of 
these for all practical purposes in poetry. It is better to 
reconstruct a line, finding another terminal, than to let 
a false or slovenly rhyme pass. 

All obsolete words, many of which are to be found in 
the old poets, are inadmissible. In professedly imita- 
tions of the older poets, they may, of course, be used ; 
but I advise no young writer to attempt such imitations ; 
they would only convey modern thought clothed in an 
antique garb. The poetry of an age reflects its character, 
and is a landmark by. which we can judge of the condi- 
tion of the language of the period. Since the ancients 



10 A HANDBOOK OF POETRY. 

wrote, thousands of words have been incorporated with 
our language ; what necessity, then, to go back to that 
which was poor and weak, when we have a far richer 
abundance to glean from ? The best poem that could be 
written in the style of the ancients would be but an 
imitation after all. 

Of words which are exactly the same in sound, but of 
different meanings, we have many examples ; — these are 
not rhymes, and, though the student may point out 
scores of instances where they have been used by great 
poets, their use is not the less to be avoided. A great 
writer may commit a solecism which would not be 
tolerated by " a 'prentice hand." To plead precedent for 
an error is only to perpetuate it. The most used, and, 
consequently, the most abused of these rhymes, which are 
no rhymes, is the word " art " with " heart." 

I will furnish the reader, as a matter of curiosity, 
with a few of the many instances where it has been used 
by great authorities, not one of whom would, I think, 
were they living, venture to defend it : — 

As there is music uninformed by art, 

In those wild notes with which a merry heart. — Dryden. 

Mingling with wonders of profounder art, 
Woman's dear helps to mystify the heart.— Croly. 

Oh ! that the chemist's magic art 

Long should it glitter near my heart. — Rogers. 

And fear in every heart 

O'ercame the pilot's art. — Addison. 



A HANDBOOK OF POETRY. 11 

Where is thy native simple heart, 
' Devote to virtue, fancy, art ? — Collins. 
Dear lost companion of my tuneful art, 
Dear as the ruddy drops that warm my heart. — Gray. 
And all thy threads with magic art 
Have wound themselves about this heart. — Cowper. 

It dies upon my heart 

0, beloved as thou art. — Shelley. 

If thou would' st stay, e'en as thou art, 

I still might press thy silent heart. — Rev. Charles Wolfe. 

Instances like these might be cited ad infinitum. The 
poems from which they are taken are so beautiful that, 
in them, they become but slight blemishes; but to the 
beginner, who wishes to command smoothness of versi- 
fication, and with whom power and passion are yet to 
be acquired, they ought to be avoided, not imitated. 

"Ear" and "hear," "hair" and "air," "boy" and 
"buoy," "seas" and "seize," "ale" and "hale," "vane" 
and "vein," and all similar words having the same 
sound, though of different meanings, are inadmissible. 

It may appear unnecessary to warn beginners against 
imperfect rhymes, but, as these pass so frequently 
undetected in amateur poetry, it may be as well to 
point some of them out, assuring my readers, however, 
that I have actually found them in print. 

A very frequent oversight is the rhyming of words 
ending with the letter "n" with those ending with "m," 
as " green " with " beam," " stream " with " seen." Again, 



12 A HANDBOOK OF POETRY. 

"more" with "poor," "earth" with "hearth:" these 
are more than blemishes, they are positive faults, and 
I should not have alluded to them had I not, as I have 
said, frequently met with them. 

Of double rhymes, formed of compound words, there 
are hardly any instances. " Wild- wood," to rhyme with 
"childhood," has done duty in so many modern ballad 
verses, that it would be as well to avoid it in future: 
a hackneyed rhyme like this is almost as objectionable 
using a hackneyed idea. 

The greatest care must be taken in forming double 
and treble rhymes, or the reverse of a pleasing effect 
will be produced. I recently found, in a poem of great 
pretension, "Milton" made to rhyme with "guilt on," 
and, in a comic poem, to rhyme with the cheese called 
" Stilton." I think both rhymes were on a par with 
each other. In a young author's first volume I found 
" Italy " made to rhyme with " bitterly." ISTow, " Iterly," 
in the mouth of a public speaker, would condemn him 
as a thorough cockney. " Armies " with " calm is," 
was another of the same writer's cockney rhymes. I 
also found some very had words (for rhymes) used in 
the poetry of " Good Words," a very successful and 
popular periodical: — 

Come in your beauty of promise ; 
Let your sun-smile scatter from us. 

For examples of false rhyming, any collection of psalms 
and hymns in use at most of our churches will supply 



A HANDBOOK OF POETRY. 13 

you with abundance. I turn over the first few pages 
of the one before me, and find " feet " rhyming, or rather 
pretending to rhyme, 'with "straight;" "love" with 
"prove;" "lead" with "fade;" "abode" with "God;" 
"faint "with "pant;" "song" with "tongue;" "clad" 
with "spread;" "come" with "down;" and scores of 
similar instances. In some cases rhymes are recklessly 
abandoned, as in this : — 

Upon the glorious cherubim 

Full royally he rode ; 
And on the wings of mighty winds 

Came flying from above. 

Elisions that are not admissible are also constantly 
made use of, as "num'rous," "shew'st," &c. 

These psalms and hymns being written to be sung, the 
falseness of the rhymes becomes more apparent and dis- 
agreeable. The examples are given to convince the student 
how necessary it is that his rhymes should be perfect. 

The sound "ou" is one of the most perplexing the 
poet has to deal with. The word "wound" has often 
been made to rhyme with " sound ; " to pronounce it so in 
speaking would be to commit a vulgarism, and not to 
pronounce it so when it occurs in a stanza, would be 
to abolish the rhyme altogether. It follows, then, that 
it cannot be properly used as a rhyme to " sound : " 
" wound " and " swooned " would be correct rhymes, but 
"swooned" is objectionable from its hissing properties. 

Words ending in " ed " are generally the participles of 



14 A HANDBOOK OF POETRY. 

the regular verbs, of which there are two sorts ; one that 
will admit of the elision of the "e" that precedes the 
consonant, and one that will not. Those that will admit 
of the elision should always be used so, as " lov'd," which 
must always be used as a single rhyme ; the others, that 
will not suffer the elision, as "to grant," "to hate," 
forming their participles "granted" and "hated," 
remain as double rhymes. 

The words " flower " and " bower " must also be always 
used as single rhymes (though there is no necessity to 
print them "flow'r" and "bow'r"), and rhyme with 
"hour," "lour," and the like. 

The following elisions, which will frequently be found 
in the older poets, are not now allowable, viz : — that of 
the " o " before a noun beginning with a vowel — as fair, 
t'every; or before a verb beginning with a vowel, as 
t'amaze, t'undo, &c. 

" Taken " sometimes loses its " k," as ta'en, but should 
only be used so when quite unavoidable. 

Before using a word as a rhyme, be sure to consider if 
it is pronounced as spelt. Some words are not so pro- 
nounced, as "again" (a-gen), which ought not to be 
rhymed with "rain," "pain," &c, but with "pen," 
"men," and the other rhymes in "en." 

Walker, whose object was apparently to make a big 
book, divides rhymes, in his "Dictionary of Ehymes," into 
two classes — " perfect " and " allowable rhymes." This 
idea I entirely repudiate : a rhyme is a rhyme or it is not. 



A HANDBOOK OF POETRY. 15 

Lyric poetry should be especially music in words, and 
perfect harmony admits of no discords. 

I cannot agree with him that "whatever has been 
constantly practised by our most harmonious poets may 
be safely pronounced to be agreeable to the genius of our 
poetry," any more than I can when he says, "there 
seems to be sometimes a beauty in departing from a 
perfect exactness of rhyme, as it agreeably breaks that 
sameness of returning sounds on the expecting ears." 
If the expecting ears are disappointed, how can it 
agreeably break the sameness? Nor do I think his 
farther defence of this defect is logical when he says, " a 
want of perfect rhyme, if a real imperfection, is fully 
compensated by gaining access to a more eligible turn of 
thought; the most exact and harmonious rhyme would 
be dearly purchased at the expense of the most delicate 
abatement in the strength and beauty of an expression." 
Is the more eligible turn of thought, then, to turn poetry 
into prose ? for such it becomes if divested of rhyme. 
But it is not necessary to abandon a happy turn of 
thought because a suitable rhyme cannot be hit upon at 
the moment. Our language is not so poor but that a 
score of ways may be found to give expression to the 
same thought, and no false rhyme need remain where 
an author will give himself the trouble to reconstruct 
his stanza or his couplet. If many of our poets 
can, as they do, put the thoughts of others into 
their own verse, what difficulty need they have in 



16 A HANDBOOK OF POETRY. 

reconstructing a passage that originates with them- 
selves ? 

Take a line or two from a very graceful poet recently 
deceased, to illustrate this ; one, too, who was lauded as 
the most original poet after Tennyson : — 

Oh ! there are men who linger on the stage 
To gather crumbs and fragments of applause. 

Alex. Smith. 

Superfluous lags the veteran on the stage. — Johnson. 

My head is grey, my blood is young, 
Red-leaping in my veins. — Alex. Smith. 

And said I that my limbs were old, 
And said I that my blood was cold, &c. 

Sir Walter Scott. 

You need not tinker at this leaking world, 
'Tis ruined past all cure. — Alex. Smith. 

There's something in this world amiss, 
Shall be unriddled by-and-by. — Tennyson. 

A tender sadness drops upon my soul, 

Like the soft twilight dropping on the world. 

Alex. Smith. 

And leave the world to darkness and to me. — Gray. 

I clasp thy waist, I feel thy bosom's beat — 
Oh, kiss me into faintness sweet and dim. 

Alex. Smith. 

I die, I faint, I fail ! 

Let thy love in kisses rain 

On my lips and eyelids pale. — Shelley. 



A HANDBOOK OF POETRY. 17 

Far above his head, 

Up there upon the still and mighty night, 

God's name was writ in worlds. — Alex. Smith. 

The heavens declare the glory of God ; and 

The firmament sheweth his handiwork. — Psalm xix. iv. 

Alas ! the youth, 
Earnest as flame, could not so tame his heart 
As to live quiet days. — Alex. Smith. 

Quiet to quick bosoms is a hell. — Bykon. 

I see no trace of God, till in the night, 

While the vast city lies in dreams of gain, 

He doth reveal himself to me in heaven : 

My heart swells to Him as the sea to the moon ; 

Therefore it is I love the midnight stars. — Alex. Smith. 

Ye stars, which are the poetry of heaven ! 
If in your brightness we can read the fate 
Of men and empires, 'tis to be forgiven 
That in our aspirations to be great 
Our destinies o'erleap their mortal state, 
And claim a kindred with, &c. — Bykon. 

My heart is weak ; as a great globe, all sea, 
It finds no shore to break on but thyself. 
So let it break. — Alex. Smith. 

Break, break, on thy cold grey stones, sea ! 
And I would that my tongue could utter, &c. 

Tennyson. 

Even if these were unintentional imitations, they are 

c 



18 A HANDBOOK OF POETRY. 

not the less evidence against Walker's dogma, that a false 
rhyme may he palliated for the sake of preserving an 
idea. Old Byshe, whose "Art of Poetry" lies in the 
corner of the room in Hogarth's pictnre of the Distressed 
Poet, is more honest ; he supposes that " the difficulty of 
finding rhymes has been the cause that such indifferent 
ones have "been frequently chosen," but he does not 
defend them. 

If we are to admit imperfect rhymes and poetical 
licenses, then the study of poetry as an art becomes an 
unnecessary task, and the most random rhymer may 
take his place beside the most accomplished poet ; but 
it is not so. The very instances Walker has adduced and 
defended, because, and only because, they have been 
found in poets of great repute, would not now be tole- 
rated by the most lenient critic, and would assuredly 
bring down upon the writer who would use them his 
just reprehension. 

It is well, however, that these solecisms have been 
pointed out to us. As our mariners are indebted to 
the early voyagers for those charts which mark out 
the hidden rocks and shoals from which they are to 
steer clear, so let us regard these rocks ahead which 
have been stumbled upon by those hardier chiefs who 
have sounded the unknown depths before us. 

What modern writer would dare to pen — 

Soft yielding minds to water glide away, 

And sip with nymphs their elemental tea ?— Pope. 



A HANDBOOK OF POETRY. 19 

a rhyme that would be appropriate in an Irish comic 
song ; as would — 

Yet still the kindness, from a thirst of praise, 
Proved the vain flourish of expensive ease. — Parnell. 

Or take the following : — 

One sees her thighs transformed ; another views 

Her arms shoot out, and branching into boughs. — Addison. 

Fear not to tax an honourable fool. 

Whose right it is uncensured to be dull. —Pope. 

Just to thy fame he gives thy genuine thought; 

So Tully published what Lucretius wrote. — Broome. 



Green wreaths of bay his length of hair 

A golden fillet binds his awful brows. — Dryden. 



In praise so just, let every voice be t 

And fill the general chorus of Tuanlcind. —Pope. 

For who did ever in French authors see 

The comprehensive English energy ? — Roscommon. 

Did e'er my eye one inward thought reveal, 

Which angel might not hear, and virgins tell 1 — Prior. 

Lo, where she sits beneath yon shaggy rock, 

A cowering shape half hid in curling smoke. — Wordsworth. 

Blemishes like these in standard poets detract nothing 
from their fame ; they have borne the heat and burden of 
their day, and have their reward in the high estimation 
in which their posterity holds them; but the beginner 
must be careful of such trippings: the race is to the 

c 2 



20 A HANDBOOK OF POETRY. 

strong, and a fall at first may cause the fleetest to be 
distanced. ISTo amount of criticism can now remove 
Pope and Dry den from their pedestals. Granted that 
these halting lines of theirs are faults, — there are spots 
in the sun. 

There are some words that change their accent when 
they change the grammatical sense in which they are 
used, as when a noun becomes a verb. The most per- 
plexing one of all these to the poets appears to have 
been the word "perfume;" but when the accent of a 
particular word becomes settled, it should be used as 
by custom and authority established. Walker has a 
long note on this word, aud points out the various 
dictionaries where the accent is placed on the last syl- 
lable, whether as a substantive or a verb, but he adds : 
" The analogy of dissyllable nouns and verbs seems now 
to have fixed the accent of the substantive on the first, 
and that of the verb on the last" and this is now 
the generally recognized accentuation. 

To accent the substantive, as in the following lines 
by Milton, or the succeeding one by a modern poetess 
(Mrs. Hemans), would not be correct, according to this 
decision : — 

Now gentle gales, 
Fanning their odoriferous wings, disperse 
Native perfume, and whisper whence they stole 
Their balmy sighs. 

The sunbeam's glow, the citron flower's ■perfume. 



A HANDBOOK OF POETRY. 21 

It must be borne in mind, then, that the noun "per- 
fume — sweet odour, or fragrance," is accented on the 
first syllable, as "^>e/-firme," while the verb active "per- 
fume — to impregnate with sweet scent," is accented on 
the last, as " perfwwae." 

By attending to the above rules, the beginner will 
soon be enabled to perfect himself in the art of forming 
rhymes. If his ear should be so faulty that he cannot 
depend on it, let him write his poem as best he may, 
putting down the thoughts as they occur to him, with- 
out waiting to examine the rhymes; his poem finished, 
he should then examine and sound them together, each 
pair of rhymes separately, to see if they perfectly agree. 
It may be he will find some false rhymes, then the line 
must be reconstructed, without altering the original 
sense, if possible. 

I give an example to show how this can be accom- 
plished, though I would not presume to alter a line of 
so distinguished a poet, supposing the poem came under 
my observation in an editorial capacity; indeed, what- 
ever faults or blemishes may occur in a published poem, 
there they ought to remain, as far as others are con- 
cerned, when they once leave the author's hands ; hence 
the greater necessity for a strict personal examination. 

The example I select shall be the rhyming of " art " 
to " heart " already referred to. It occurs in a very beau- 
tiful lyric by Thomas Davis, the Irish bard, entitled 
" Darling NelL" 



22 A HANDBOOK OF POETRY. 

Why should I not take her into my heart? 
She has not a morsel of guile or art : 
Why should I not make her my happy wife, 
And love her and cherish her all my life ? 

"Which might have been altered thus, — 

Why should I not take her into my heart, 
And make her mine own, of my life a part ? 
Why should I not call her my happy wife, 
And love her and cherish her all my life ? 
Or,— 

Why should I not take her into my heart ? 
Not a morsel of gxiile could her own impart. 

which would have been nearer to the original, but not 
so poetical. 

I merely give this example to show how easily altera- 
tions can be made, though I am not unmindful of a 
certain anecdote related of Thomas Moore. " Sir," said 
to him an amateur vocalist, who had repeated the first 
part of the time of one of the Irish Melodies contrary to 
the notation of the bard, " you perceive the improvements 
I have made in your song?" "At least," rejoined Moore, 
" I observe the alterations." 

To the beginner I would say, never be afraid of alter- 
ing, never send out to the world an imperfect poem; 
keep your manuscript by you as long as you can un- 
published, and look at it at intervals; the longer you 
keep it, the more likely you will be to discover its im- 
perfections, if any exist. Many an established poet has 
regretted rushing too precipitately into print. 




CHAPTER III. 

ON RHYTHM. 

S I have said, I shall in this treatise abandon 
all those technical terms which, in the old 
scholastic treatises, under the heads of " Ver- 
sification," and " B/ules for making verses," have so 
bothered and bewildered the student, which never made 
a poet, and which would prescribe art to the condition 
of a cucumber grown in a tube and generated over a 
hot-bed. 

To those who wish to know when they are employing 
a Trochee, an Iambus, a Spondee, a Phyrric, a Dactyl, 
an Amphibrach, an Anapaest, or a Tribrach, there is 
Mr. Murray to refer to ; the student will be better 
able to study rhythm by considering the best forms of 
verse that have been adopted and used by the best 
poets. 

Ehythm, measure, or metre, is the arrangement of a 
certain number of syllables into lengths, or musical 
lines, having other lines of the same length, and with 
precisely the same accent, to correspond with them. 
These lines may follow each other, or be alternated 



24 A HANDBOOK OF POETRY. 

with other lines of longer, shorter, or similar lengths, 
which must also have their corresponding lines.* An 
elongation of the last line, as in the metre invented 
by Spenser, called hence the Spenserian stanza, and 
adopted by Byron in his " Childe Harold," is also ad- 
missible. 

Each line in poetry consists of a certain number of 
feet, by which they can be measured or scanned. A 
foot in poetry is determined by the rise and fall of the 
accent, as — 

In a wild | tranquil vale | fringed with fo | rests of green, 
Where na | ture had fash | ioned a soft | sylvan scene ; 

Another syllable added to the second line of this 
couplet would not have altered its rhythmical accent, 
as — 

Where kind na | ture had, &c. 

The learned Pundits have reduced poetical feet to eight 
kinds, designated by the terms enumerated above, but 
if the beginner has no ear, these will not assist him; 
if he have one, he can easily measure off the feet for 
himself, f 

* There is an exception to this where a foot is dropped in the 
concluding line, for which see examples of stanzas. 

+ The following ingenious lines "by Coleridge explain the whole 
system, and are at the service of those who prefer to work by the 
rule and square : — 



A HANDBOOK OF POETRY. 25 

In scanning the lines it must be borne in mind that 
every line must agree perfectly with its corresponding 
line, not only throughout the stanza, but in every subse- 
quent stanza. In Lyric poetry there ought to be no 
deviation from this rule. 

A very simple plan for the beginner to test his rhythm 
is for him to find some old tune to which his first stanza 
will sing perfectly, and then to try over the subsequent 

Metrical Feet. 
Trochee trips from long to short ; 
From long to long, in solemn sort, 
Slow Spondee stalks ; strong foot ! yet ill able 
Ever to come up with Dactyl trisyllable. 
Iambics march from short to long ; 
With a leap and a bound the swift Anapaests throng ; 
One syllable long, with one short at each side, 
Amphibrachys hastes with a stately stride ; 
First and last being long, middle short, Amphimacer 
Strikes his thundering hoofs like a proud high-bred racer. 

Coleridge. 
The following is the scheme of the feet named. The mark" 
denotes a long, and " a short syllable : — 
Trochee "* ". 
Dactyl 
Spondee " 



Amphimacer 
Iambus " 
Amphibrach ' 



26 A HANDBOOK OF POETRY. 

verses without varying the accent of the tune. I have 
seen thousands of printed stanzas, and marked "for 
music" too, in which to accomplish this would be a 
simple impossibility. 

I will now proceed, still avoiding technicalities, to give 
the student examples of the various forms of verse and 
rhythm adopted by the poets, reminding him again, that 
he is perfectly at liberty to invent a new form of verse, 
if he can do so correctly, i.e. harmoniously. 

In descriptive and narrative poetry, the couplet, i.e. 
verse in which the consecutive lines rhyme with each 
other, is the style of verse that has been most used. 

The Homeric Hexameter Described an© Exemplified. 

(From the German of Schiller.) 

Strongly it bears us along in swelling and limitless billows, 

Nothing before and nothing behind but the sky and the ocean. 

Coleridge. 
Scheme. 

The Ovidian Elegiac Metre Described and Exemplified. 
(From the German of Schiller.) 
In the Hexameter rises the fountain's silvery column ; 
In the Pentametre aye falling in melody back. — Coleridge. 

Scheme. 

-•-I— |-|---|---|- 



A HANDBOOK OF POETRY. 27 

1. — Couplets op Font Feet in Eight Syllables. 
When lie who called with thought to birth 
Ton tented sky — this laughing earth, 
And drest with springs the forest dell, 
And poured the main engirting all, 
Long by the loved enthusiast wooed, 
Himself in some diviner mood, 
Retiring, sat with her alone, 
And placed her on her sapphire throne. — Collins. 

2. — Couplets op Five Feet in Tex Syllables. 

But me, not destined such delights to share, 

My prime of life in wandering spent and care ; 

Impelled, with steps unceasing, to pursue 

Some fleeting good, that mocks me with the view ; 

That, like the circle bounding earth and skies, 

Allures from far, yet, as I follow, nigs ; 

My fortune leads to traverse realms alone, 

And find no spot of all the world my own. 

Goldsmith. 
3. — Couplet op Seven Feet in Fourteen Syllables. 
Eight sharp and quick the bells all night rang out from 

Bristol town, 
And ere the day three hundred horse had met on Clifton 

down. — Macaulay. 

4. — Couplets op Four Feet in Seven Syllables, 
Come, with all thy varied hues, 
Come, and aid thy sister muse ; 



28 A HANDBOOK OF POETRY. 

Now Phoebus, riding high, 

Gives lustre to the land and sky. — Dyer. 

Blank Verse is measured language minus the rhymes : 
the finest specimens are to be found in Milton and 
Shakspeare. 

Some modern professors of elocution and public readers 
have adopted the plan of reading blank verse as prose, 
instead of making every line sensible to the ear. Surely 
the poets who composed in verse intended that their lines 
should be read as verse, that the melody and the final 
pause should be preserved; which it may be without 
going into the opposite extreme, familiarly known as the 
" sing-song " style. 

The following illustration is "given in an old school 
treatise on versification, but will serve our purpose as well 
as any other : — 

" Of man's first disobedience, and the fruit of that 
forbidden tree, whose mortal taste brought death into the 
world, and all our woe, with loss of Eden, till one greater 
man restore us, and regain the blissful seat, sing, heavenly 
muse!" 

As an example of blank verse it reads, in its proper 
form, thus, — ■ 

5. — Of man's first disobedience, and the fruit 
Of that forbidden tree, whose mortal taste 
Brought death into the world, and all our woe, 
With loss of Eden, till one greater man . 



A HANDBOOK OF POETRY. 29 

Eestore us, and regain the blissful seat, 
Sing, heavenly muse ! — Milton. 

The foregoing forms of rhythm are those chiefly adopted 
in epic poetry. Southey's epics display a great variety of 
measures, to which the student may refer when he is 
sufficiently exercised in those I have given. 

Lyric Poetry, and many longer poems which are not 
lyrics, is written in stanzas, as the " Childe Harold," &c. 

6. — Spenserian Stanza. 

There was a sound of revelry by night, 

And Belgium's capital had gathered then 

Her beauty and her chivalry, and bright 

The lamps shone o'er fair women and brave men ; 

A thousand hearts beat happily ; and when 

Music arose with its voluptuous swell, 

Soft eyes looked love to eyes which spake again, 

And all went merry as a marriage-bell ; 

But hush ! hark ! a deep sound strikes like a rising knell ! 

Byron. 

As the student ought now be enabled to mark out the 
feet for himself, in giving specimens of the various forms 
of stanza, I shall distinguish them by the number of 
syllables employed in the lines, as 8-6, 8-5, and so on. 
The examples are taken from various portions of the 
poems to which they belong, the object being for the 
student to study the construction of the stanza, and not 
the subject-matter of the verses. 



30 A HANDBOOK OF POETRY. 

7. — Stanza of Four Lines, 6-6. (Alternate rhymes.) 
You've heard them sweetly sing, 

And seen them in a round, 
Each virgin like a spring 
With honeysuckles crowned. — Herrick. 
8. — Stanza oe Four Lines, 6-10-10-6. (Alternate rhymes.) 
Seek'st thou the plashy brink 
Of weedy lake, or marge of river wide, 
Or where the rocking billows rise and sink 
On the chafed ocean side ? — Bryant. 

9. — Stanza oe Four Lines, 7-7. (Alternate rhymes.) 
When the British warrior queen, 

Bleeding from the Soman rods, 
Sought, with an indignant mien, 

Counsel of her country's gods. — Cowper. 

10. — Stanza oe Four Lines, 8-6. (Alternate rhymes.) 
The earth to thee her incense yields, 

The lark thy welcome sings, 
When glittering in the freshened fields, 
The snowy mushroom springs. — Campbell. 

11. — Stanza oe Four Lines, 8-8, dropping the last line 
to 6. (Alternate.) 
Once in the flight of ages past 

There lived a man — and who was he ? 
Mortal ! howe'er thy lot be cast, 

That man resembled thee. — Jas. Montgomery. 



A HANDBOOK OF POETRY. 31 

12. — Stanza op Four Lines, 8-8. (Alternate rhymes.) 
The goats wind slow their wonted way 

Up craggy steeps and ridges rude ; 
Marked by the wild wolf for his prey, 

From desert cave or hanging wood. — Rogers. 

13. — Another (in couplets). 

That setting snn ! that setting sun ! 
What scenes, since first his race begun, 
Of varied hue its eye hath seen, 
Which are as they had never been. — Anon. 

14. — Stanza oe Four Lines, 8-7. (Alternate rlvymes. 
If on windy days the raven 

Gambol like a dancing skiff, 
Not the less she loves her haven 

In the bosom of the cliff. — Wordsworth. 

15. — Stanza oe Four Lines, 10-8. (Alternate rhymes.) 
I have stood at morn on the mountain side, 

When 'twas bright as a morn may be ; 
I have seen the sun in the noonday pride 

Of his orient majesty. — Anon. 

16. — Stanza oe Four Lines, 10-10. (Alternate rhymes.) 
Now fades the glimmering landscape on the sight, 

And all the air a solemn stillness holds, 
Save where the beetle wheels his droning flight, 
And drowsy tinklings lull the distant folds. — Gray. 



32 A HANDBOOK OF POETRY. 



17. — Another {differently 

Not a drum was heard, nor a funeral note, 

As his corse to the rampart we hurried ; 

Not a soldier discharged his farewell shot 

O'er the grave where our hero we buried. — "Wolfe. 

18. — Stanza of Four Lines, 11-11. (Alternate rhymes.) 

Oh ! tell me no more of the forest and field, 

Old Ocean has breathed a new spirit in me; 

For the landscape, with all its enchantment, must 

yield 

To the nobler expanse of the dark-heaving sea ! 

Anon. 
19. — Another (in couplets). 

I gazed not alone on that source of my song : 

To all who beheld it these verses belong ; 

Its presence to all was the path of the Lord : 

Each full heart expanded, grew warm and adored ! 

Campbell. 

The above thirteen examples will afford the student 

models enough for the formation of four-line stanzas. 

The same metres are available for the construction of 

eight-line stanzas, by carrying the text, or context, 

into the subsequent four lines ; but every complete verse 

must close with a period. 

20. — Stanzas of Five Lines, 4-8. (Alternate and 
triplet.) 
Go, lovely rose ! 
Tell her that wastes her time and me, 
That now she knows. 



A HANDBOOK OF POETRY. 33 

When I resemble her to thee, 
How sweet and fair she seems to be. — Waller. 

21. — Stanza of Five Lines, 8-8. {Divided triplet and 
suspended rhyme.) 
The welcome gnest of settled spring, 

The swallow, too, is come at last ; 
Just at snnset, when thrushes sing, 
I saw her dash with rapid wing, 
And hailed her as she passed. 

Charlotte Smith. 

22. — Stanza oe Five Lines, 6-5, and one 12. (Alternate 
and divided triplet.) 
Will that clime enfold thee 

With immortal air ? 
Shall we not behold thee 
Bright and deathless there ? 
In spirit-lustre clothed, transcendently more fair ? 

Hemans. 

23. — Stanza oe Five Lines, 7-5, and elongated line. 
(Tlie same varied.) 
Come, let us go to the laud 
Where the violets grow ; 
Let's go thither, hand in hand, 
Over the waters, over the snow, 
To the land where the sweet, sweet violets blow. 

Barry Cornwall. 
d 



34 A HANDBOOK OF POETRY. 

24. — Stanza of Five Lines, 8-4. (Divided triplet and 
suspended rhyme.) 
5 Tis when the sigh, in youth sincere, 

And only then, — 
The sigh that's breathed for one to hear, 
Is by that one, that only dear, 

Breathed back again ! — T. Moose. 

25. — Stanza op Five Lines, 8-4. (Couplet and triplet.) 
Oh, tread not on a virgin flower ! 
I am the maid of the midnight hour ; 
I bear sweet sleep 
To those who weep, 
And He on their eyelids dark and deep. 

Barry Cornwall. 

26. — Stanza of Six Lines, 8-4. (Quacfo-uple and two 
suspended rhymes.) 
Wee, modest, crimson-tipped flower, 
Thou'st met me in an evil hour, 
For I maun crash among the stoure 

Thy slender stem ; 
To spare thee now is past my power, 
Thon bonny gem. — Burns. 

27.— Stanza of Six Lines, 6-6. (Two couplets and a 
suspended rhyme.) 
Blow, blow, thou wintry wind, 
Thou art not so unkind 
As man's ingratitude ; 



A HANDBOOK OF POETRY. 35 

Thy tooth, is not so keen, 
Because thou art not seen, 

Although thy breath be rude. — Shakspeare. 

28. — Stanza of Six Lines, 8-5. (Rhyme same as last.) 
When glowworm lamps illume the scene, 
And silvery daisies dot the green, 

Thy flowers revealing, 
Perchance to soothe the Fairy-queen, 
With faint sweet tones, on night serene, 

Thy soft bells pealing. — Anon. 

29. — Stanza oe Six Lines, 8-8. (Alternate and a couplet.) 
For pleasure has not ceased to wait 
On these expected annual rounds, 
Whether the rich man's sumptuous gate 

Call forth the unelaborate sounds, 
Or they are offered at the door 
That guards the lowliest of the poor. 

Wordsworth. 

30. — Stanza of Six Lines, 8-6. (Quadruple and two 
suspended rhymes.) 
Or where the denser grove receives 

No sunlight from above, 
But the dark foliage interweaves 
In one unbroken roof of leaves, 
Underneath whose sloping eaves 

The shadows hardly move. — Longfellow. 

d 2 



36 A HANDBOOK OF POETRY. 

31. — Stanza of Srx Lines, 8-6. (One set of rhymes only, 
alternate.) 
Like one that on a lonesome road 

Doth walk in fear and dread, 
And having once turned ronnd, walks on 

And turns no more his head ; 
Because he knows a frightful fiend 

Doth close behind him tread. — Coleridge. 

32. — Stanza of Seven Lines, 8-6. (A triplet, a couplet, 
and suspended rhyme.) 
Oh ! thou art glorious, orb of day ; 
Exulting nations hail thy ray, 
Creation swells a choral lay 
To welcome thy return ; 
From thee all nature draws her hues, 
Thy beams the insect's wings suffuse, 

And in the diamond burn. — Hemans. 

33. — Stanza of Seven Lines, 8-8. (Alternate, divided 
triplet, and couplet.) 
Methinks I love all common things ; 

The common air, the common flower ; 
The dear kind common thought that springs 
From hearts that have no other dower, 
~No other wealth, no other power, 
Save love ; and will not that repay 
For all else fortune tears away ? — Barry Cornwall. 



A HANDBOOK OF POETRY. 37 

34. — Stanza of Seven Lines, 8-8, with one 6. {Alter- 
nate, divided triplet, and couplet.) 
Unblest distinction ! showered on me 
To bind a lingering life in chains : 
All that could quit my grasp, or flee, 
Is gone ; but not the subtle stains 
Fixed in the spirit ; for even here 
Can I be proud that jealous fear 

Of what I was remains ? — Wordsworth. 
35. — Stanza of Seven Lines, 7-7. {Alternate, with a 
divided triplet, and two short lines rhymed.) 
By a mountain stream, at rest, 
"We found the warrior lying, 
And around his noble breast 
A banner clasped in dying ; 
Dark and still 
Was every hill, 
And the winds of night were sighing. 

Hemans. 
Of eight-line Stanzas there is a great variety of forms. 
They may be made of triplets with a suspended couplet, 
forming the fourth and eighth line, in alternately rhymed 
lines, in couplets, in six alternate lines and a couplet, and 
in other ways, as the following examples will show : — 
36. — Stanza of Eight Lines, 6-4 {Two triplets and 
suspended rhyme.) 
Where the wild torrent flows, 
Where the wind rudely blows, 



38 A HANDBOOK OF POETRY. 

There the dark water goes 

Down to the sea ; 

To the far ocean- caves, 

That the sea gently laves, 

Seeking its kindred waves, 

There to be free !— Anon." 

37. — Stanza op Eight Lines, 6-5. (Two triplets, and 

suspended rhyme.) 
I wooed the bine-eyed maid, 
Yielding, yet half afraid, 
And in the forest's shade 

Onr vows were plighted. 
Under its loosened vest 
Fluttered her little breast, 
Like birds within their nest 

By the hawk frighted. 

Longfellow. 

38. — Stanza oe Eight Lines, 6-6. (Two triplets, and 
suspended rhyme.) 
If stranger hands might dare 
A wild-flower wreath prepare, 
The sweet enthusiast's hair, 

Her flowing hair, to bind ; 
Oh ! I would haste to bring 
The violets of the spring, 
Whose odours scent the wing 

Of every passing wind. — Anon. 



A HANDBOOK OF POETRY. 39 

39. — Stanza of Eight Lines, 5-6, Triplet of 6 and 5. 
(Alternate, triplet, and divided triplet.) 
Stars look o'er the sea 

Few, and sad, and shrouded ; 
Faith our light must be 

When all else is clouded. 
Thou, whose voice came thrilling, 
Wind and billow stilling, 
Speak once more — our prayer fulfilling — 

Power dwells with thee ! — Hemans. 

40. — Stanza of Eight Lines, 7-5. (Triplets, and sus- 
pended rhyme.) 
By oppressions, woes, and pains, 
By your sons in servile chains, 
We will drain our dearest veins, 

But they shall be free ! 
Lay the proud usurpers low ; 
Tyrants fall in every foe ; 
Liberty's in every blow ; 

Let us do or die ! — Burns. 

41.— Stanza of Eight Lines, 8-7. (Split triplets, and 
a couplet.) 
If you are for ever doubting, 
If you thus my love revile, 
If you are for ever pouting 
. When I covet most your smile, 



40 A HANDBOOK OF POETRY. 

All my pretty speeches flouting 
That your coldness would beguile, — 
How can I be kind to you ? 
How can I believe you true ? 

Ballad Stanza. 

42. — Stanza of Eight Lines, 8-7. (Alternate rhymes.) 

Hushed the tempest's wild commotion, 

Winds and waves had ceased their war ; 
O'er the wide and sullen ocean 

That shrill sound is heard afar. 
And comes it as a note of gladness 

To thy tired spirit ? wanderer, tell : 
Or rather, does my heart's deep sadness 

"Wake at that sweet sabbath bell ? 

Bishop Turner. 

43. — Stanza or Eight Lines, 8-6. (Alternate rlvymes.) 

Lo ! streams that April could not check 

Are patient of thy rule ; 
Gurgling in foamy water-break, 

Loitering in glassy pool ; 
By thee, thee only, could be sent 

Such gentle mists as glide, 
Curling with unconfirmed intent 

On that green mountain's side. 

"Wordsworth. 



A HANDBOOK OF POETRY. 41 

44. — Stanza of Eight Lines, 8-8. {Alternate, and 

couplets.) 

When all around the wind doth blow, 

And coughing drowns the parson's saw, 
And birds sit brooding in the snow, 

And Marian's nose looks red and raw, 
"When roasted crabs hiss in the bowl, 
Then nightly sings the staring owl, 
In-whit, to-whoo ! a merry note ! 
While greasy Joan doth keel the pot. 

Shakspeake. 

45. — Stanza or Eight Lines, 8-8. {Alternate rhymes.) 
It was my guide, my light, my all ; 

It bade my dark forebodings cease ; 
And through the storm, and danger's thrall, 

It led me to the port of peace : 
Now, safely moored, my perils o'er, 

I'll sing, first in night's diadem, 
Eor ever and for evermore, 

The star, the star of Bethlehem ! 

Kerke White. 

46. — Stanza op Eight Lines, 7-8. (Broken triplet, couplet, 
and suspended rhyme.) 

Now thy young heart, like a bird, 

Singeth in his summer nest ; 
No evil thought, no unkind word, 
No chilling autumn wind hath stirred 

The beauty of thy rest : 



42 A HANDBOOK OF POETRY. 

But winter cometh, and decay 
Shall waste thy verdant home away. 
Then pray, child, pray ! — Anon. 

47. — Stanza of Eight Lines, 8-4. {Triplets, and suspended 
rhyme.) 
There feed and take thy balmy rest, 
There weave thy little cotton nest, 
And may no crnel hand molest 

Thy timid bride ; 
Nor those bright changeful plumes of thine 
Be offered on th' unfeeling shrine, 
"Where some dark beauty loves to shine 

In gaudy pride. — Anon. 

48. — Stanza op Eight Lines, 8-9. (Alternate rhymes.) 
His mother from the window looked, 

With all the longing of a mother ; 
His little sister, weeping, walked 

The greenwood path, to meet her brother. 
They sought him east, they sought him west, 

They sought him all the forest thorough ; 

They only saw the cloud of night, 

They only heard the roar of Yarrow. 

Logan. 

49. — Stanza oe Eight Lines, 9-8. (With triplets.) 
"Now, if I fall, will it be my lot 
To be cast in some low and lonely spot, 



A HANDBOOK OF POETRY. 43 

To melt and sink unseen and forgot ; 

And then will my course be ended ? " 
'T was thus a feathery snow-flake said, 
As down through the measureless space it strayed, 
Or, as half by dalliance, half afraid, 

It seemed in mid-air suspended. — Gould. 

50. — Staxza op Eight Lines, 9-9. {Alternate rhymes.) 
Not a pine in the grove is there seen, 

But with tendrils of woodbine is bound ; 
Not a beech's more beautiful green, 

But a sweet briar entwines it around, 
Not my fields, in the prime of the year, 

Can more charms than my cattle unfold ; 
Not a brook that is limpid and clear, 

But it glitters with fishes of gold. 

Shenstone. 

51. — Stanza or Eight Likes, 9-8. (Alternate rhymes.) 
But thou, proud man ! the beggar scorning, 

Unmoved who saw'st me kneel for bread, 
Thy heart shall ache to hear that morning, 

That morning found the beggar dead ; 
And when the room resounds with laughter, 

My famished cry thy mirth shall scare, 
And often shalt thou wish hereafter, 

Thou had'st not scorned the orphan's prayer. 

M. G. Lewis. 



44 A HANDBOOK OF POETRY. 

52. — Stanza of Nine Lines, 10-10. (A quadruple, alter- 
nate, and triplet.) 
Sometimes we scoop the squirrel's hollow cell, 

And sometimes carve quaint letters on trees' rind, 
That haply some lone musing wight may spell 
Dainty Aminta, gentle Rosalind, 
Or chastest Laura — sweetly called to mind 
In sylvan solitudes, ere he lies down ; 

And sometimes we enrich grey stones with twined 
And vagrant ivy, or rich moss, whose brown 
Burns into gold as the warm sun goes down. — Hood. 



See also the Spenserian Stanza (example, page 29), 
which is formed by nine lines, eight of ten syllables in 
five feet, and an extra line of six feet rhyming with the 
last line. 

53. — Stanza or IsTine Lines, 8-7. (Alternate, split triplet, 
and couplet.) 
I saw him on the battle eve, 

When, like a king he bore him ; 
Proud hosts were there, in helm and greave, 

And prouder chiefs before him : 
The warrior, and the warrior's deeds — 
The morrow, and the morrow's meeds — ■ 

No daunting thought came o'er him ; 

He looked around him, and his eye 

Defiance flashed to earth and sky ! 

Miss Jewsbuey. 



A HANDBOOK OF POETRY. 45 

54. — Stanza of Tex Lines, 8-7. {Couplets, suspended 
and alternate rhymes.) 
So reaches lie the latter stage 
Of this our mortal pilgrimage 

"With feeble step and slow ; 
New ills that latter stage await, 
And old experience learns too late 

That all is vanity below. 
Life's vain delusions are gone by, 

Its idle hopes are o'er; 
Yet age remembers with a sigh 

The days that are no more. — Southet. 

55. — Stanza of Ten Lines, 8-6. (Alternate, couplets, 

and suspended.) 

To each his sufferings ; all are men, 

Condemned alike to groan, 
The tender for another's pain, 

The unfeeling for his own. 
Yet, ah ! why should they know their fate, 
Since sorrow never comes too late, 

And happiness too swiftly flies ? 
Thought would destroy their paradise. 
!No more : — where ignorance is bliss 

'Tis folly to be wise. — G-bay. 

56. — Stanza of Ten Lines, 10-8. (Couplets.) 
Now the bright morning- star, day's harbinger, 
Comes dancing from the East, and leads with her 



46 A HANDBOOK OF POETRY. 

The flowery May, who from her green lap throws 
The yellow cowslip and the pale primrose. 
Hail, beauteous May ! that dost inspire 
Truth, and youth, and warm desire ; 
Woods and groves are of thy dressing, 
Hill and dale doth boast thy blessing. 
Thus we salute thee with our earnest song, 
And welcome thee, and wish thee long. — Milton. 

57. — Stanza of Eleven Lines, 10-8. {Suspended, couplets, 
and triplet.) 
Philosophy, the great and only heir 

Of all that human knowledge which has been 
TJnforfeited by man's rebellious sin, 
Though fall of years he do appear, 
Has still been kept in nonage till of late, 
Nor managed or enjoyed his vast estate ; 
Instead of carrying him to see 
The riches which do hoarded from him lie 
In Nature's endless treasury, ,. 

They close his eye to entertain 
With painted scenes and pageants of the brain. 

Cowley. 

58. — Stanza of Twelve Lines, 10-7. {Alternate rJiymes.) 
I am the daughter of earth and water, 

And the nursling of the sky ; 
I pass through the pores of the ocean and shores ; 
I change, but I cannot die. 



A HANDBOOK OF POETRY. 47 

For after the rain, when, with never a stain, 

The pavilion of heaven is bare, 
And the winds and sunbeams, with their convex gleams, 

Build np the bine dome of air — 
I silently laugh at my own cenotaph, 

And out of the caverns of rain, 
Like a child from the womb, like a ghost from the tomb, 

I rise and unbuild it again. — Shelley. 

59. — Stanza oe Twelve Lines, 7-3. (Couplets and alter- 
nate.) 

In his distant cradle nest 
Now my babe is laid to rest ; 
Beautiful his slumber seems, 
With a glow of heavenly dreams ; 
Beautiful, o'er that bright sleep 
Hang soft eyes of fondness deep, 
Where his mother bends to pray 
For the loved one far away. 
Father, guard that household bower, 

Hear that prayer ! 
Back, through thine all-guiding power, 

Lead me there. — Hemans. 

60. — Stanza oe Fourteen Lines. (Tlie Sonnet.*) 
Scorn not the Sonnet ! Critic, you have frowned, 
Mindless of its just honours : with this key 
Shakspeare unlocked the heart ; the melody 

* It maybe as well to caution the student, that every short 



48 A HANDBOOK OF POETRY. 

Of this small lute gave ease to Petrarch's wound ; 
A thousand times this pipe did Tasso sound ; 

"With it Camoens soothed an exile's grief; 

The Sonnet glittered a gay myrtle leaf 
Amid the cypress with which Dante crowned 

His visionary brow ; a glowworm lamp 
It cheered mild Spenser, called from Faery -land 

To struggle through dark ways ; and when a damp 
Fell round the path of Milton, in his hand 

The thing became a trumpet, whence he blew 

Soul-animating strains — alas, too few ! 

"WORDSWOETH. 



The student has now before him sixty distinct forms 
of verse. The examples might be considerably increased ; 
but, if he work diligently in a few of them, he will soon 
be enabled to form metres for himself. He will observe 
that though the stanzas are marked 10-6, 8-7, &c, this 
does not invariably denote the number of syllables 
employed in the construction of the lines, but rather the 

poem of fourteen lines is not necessarily a Sonnet. The strict 
Sonnet should consist of two quatrain and two tercets, and as 
much skill is required for the management of the latter as the 
former. The rhymes of the last six lines are capable of many 
arrangements ; but the plan, so frequently adopted in English 
sonnets, of making the fifth and sixth (last two lines of the Sonnet) 
rhyme, is incorrect, as giving the force of an epigram rather than 
the tenderness and delicacy appertaining to the Sonnet. 



A HANDBOOK OF POETRY. 49 

number that would be employed, supposing every one 
was fully accented. As in a bar of music there are notes 
of different duration, so in a foot in poetry there may 
be words that are slightly or folly accented : for example, 
a bar in common time must only contain four crotchets, 
or notes to the same value, so must the foot in poetry 
not be continued beyond its proper quantity in words 
or syllables. 

It must also be borne in mind that the metre should 
always be appropriate to the subject treated of. The 
measure of the following lines, in which the rise and fall 
of the accent is suggested by the words, will illustrate 
this: — 

The foot of music is on the waters ; 

Hark ! how fairily, sweetly it treads. 
As in the dance of Orestes' daughters, 

Now it advances, and now recedes. 

The following is the scheme : — 

There are certain metres (not given above) belonging 
to, and so identified with, particular poems, for which they 
were invented, that it is not prudent to work in them ; 
as Edgar Poe's "Eaven," Campbell's " Hohenlinden," 
Cowper's lines to Mrs. Unwin, "My Mary," &c. The 

E 



50 A HANDBOOK OF POETRY. 

best poem that could be written in these metres would 
only be a parody, or at best, an imitation. 

Rhythm will be perfect or imperfect according as the 
words are correctly or incorrectly accented; for, though 
the poet may change the accent of a word by the place in 
which he puts it in a line, he may be assured that the 
reader will not do so. A few examples of incorrect accent 
will illustrate this: — 

These are my own loved native hills, 

Verdant and bright and green ; 
And dearly my footsteps love to roam 

Each old familiar scene. 

Neither of these lines agrees with its corresponding 
Jine. You get " verdant" against "each old," and " and 
dearly " against " these are." All the harmony of the 
verse is destroyed by the lame feet. 

Another example, also from a published song : — 

I used to dream in childhood 

Of the gay green wood to-morrow, 

And days and nights brought happiness, 
Without one care or sorrow. 

The penultima of the last line disagrees with its fellow, 
and this infringes one of the canons of poetry. 

A few more lines, with their corresponding lines, will 
be sufficient to warn the student against falling into 
similar errors: — 



A HANDBOOK OF POETRY. 51 

Exchange, or Eld, their points discuss, 
O'er the remains of geni-us. 

Then, let us not mourn that the flower was borne : 
She blooms 'neath Mercy's radiant morn. 

I would not see thee when thy cheek 

Less brilliant was, for the beam 
Gone, .would make me in sorrow seek 

To count the days since thou wert seen. 



Note. — Mr. George L. Craik, whose position, as "Professor of 
History and of English Literature," in Queen's College, Belfast, 
entitles him to respectful consideration, has stated, in his " English 
of Shakspeare," a somewhat strange, and I venture to think, very 
original theory. He says, ' ' The mechanism of verse is a thing 
altogether distinct from the music of verse. The one is a matter 
of rule, the other of taste and feeling." If this be so, and the 
taste and feeling are not expressed in accordance with the ' ' matter 
of rule," what becomes of the music? "But, then," says Mr. 
Craik, "music is not an absolute necessity of verse. There are 
cases in which it is not even an excellence or desirable ingredient," 
and it is upon this that I must beg to join issue with him.* He 
adds, ' ' No rules can be given for the production of music ; " and 
if by the "production" he means the "composition" of music, 
in the same sense that he means the making of poetry, to this I 

* " The poet, briefly described, is be whose existence constitutes a new 
experience, who sees life newly, assimilates it emotionally, and con- 
trives to utter it musically. His qualities, therefore, are triune. His 
sight must be individual, his reception of impressions must be emotiona], 
and bis utterance must be musical; deficiency in any one of these qualities 
is fatal to his claims fox office." — David Gray and other essays. 

Egbert Buchanan. 

E 2 



52 A HANDBOOK OF POETRY. 

The last example outrages both rhyme and metre, but 
it is, alas ! a " modern instance" of Magazine poetry (?) 

reply, that no music can be composed unless by rule, governed by 
the laws of harmony, which are fixed and defined, as, no doubt, 
the Professor of that art at Queen's College, Belfast, would have 
told his learned colleague, had he taken the trouble to inquire. 
Mr. Craik, however, in a sentence a little further on, contradicts 
himself, for he continues, "The mechanical law, or form, is 
universally indispensable. It is that which constitutes the verse. 
It may be regarded as the substance ; musical character, as the 
accident or ornament. " This is not so. However fine might be the 
words employed, the sentiments expressed, unless the mechanical 
law is complied with, a discord would be produced, and there 
would be no music. It is the harmony of the line, as expressed 
by the "mechanical law or form," that makes the music, i.e. 
makes the perfect verse. 





CHAPTER IY. 

ON STYLE. 

]TYLE, in poetry, must always remain a matter 
of individual taste and feeling. As there is no 
positive standard of beauty, so is there no 
arbitrary test of art ; but there are certain conventional 
forms which we accept as substitutes, and certain models 
by which we are enabled to make comparisons. 

It is generally admitted that poetry differs from prose 
and the ordinary language of conversation, not alone by 
the measures and rhymes which constitute its outer 
framework, but by those figures of speech, metaphors, 
images, and lingual ornaments by which it is embellished. 
Wordsworth alone, of all our poets, has endeavoured to 
establish a different doctrine, and to recommend that 
poetry should be formed " as far as possible of a selection 
of the language really spoken by men. " This would be 
to form mere rhyme; and where this plan has been 
adopted, we at once see the distinction between good 
poetry and bald verse. Wordsworth himself was too 
much of a poet to carry out, in the greater part of his 
writings, his own plan. — 



U A HANDBOOK OF POETRY. 

Much did it taunt the humbler Light 
That now, when day was fled, and night 
Hushed the dark earth — 

is not the sort of language " really spoken by men ; " nor 
do men in ordinary conversation use such exclamations 
as "And lo!" "Much did it," "Maternal Flora," 
" Behold the mighty morn, " " Ah me ! " " Forth 
sprang, " " Thou knowest, " " Fame tells, " " Hail, orient 
conquerer ! " all of which are proper to poetry, and 
occur within a few pages of one of "Wordsworth's nume- 
rous volumes. 

Again, in ordinary conversation, and in elegant prose 
writing, a man says all that he has got to say upon a 
subject, explaining it clearly and precisely ; but in poetry 
the effect is produced, not so much by what is expressed 
in absolute words, as by what the words suggest, by the 
ideas which they convey, and the feelings and associations 
that may spring from them. Poetry should excite 
emotion in the breast of the reader, and to effect this 
the poet must lift him into the realms of imagination, 
dazzling him by its grandeur ; or he must open his heart 
to him, and by tenderness, grace, fancy, feeling, and 
pathos, awake in that of his reader a kindred spell. 

The styles of poetry are various. For 

Fihe, Dash, Action, Scott may be taken as an 
example. Scott, inspired by the olden ballads, of which 
he was an enthusiastic student, selected for his ground a 
field that had long lain fallow. He brushed the cobwebs 



A HANDBOOK OF POETRY. 55 

off the past, regilded the knight's armour, unfolded the 
moth-eaten banner, called up the echoes of the clang of 
arms, lit up the ancient banquet hall, and revived the 
picturesque splendour, the pomp and pride of antique 
chivalry. His poems were chiefly written in couplet 
lines of eight syllables, in four feet. If they excited no 
tender emotions, they kept the heart beating : beauty and 
bravery was their theme, and what appeals so directly 
and at once to the hearts of Englishmen ? For poems 
embodying historic recollections, they may be studied 
with advantage. 

Manners, customs, scenery, and costume enter into this 
class of composition, as does dialogue (not dramatic), 
introduced by connecting words, as "Thus spake," &c. 
These poems partake of the character of the historical 
novel, and are known as the "metrical chronicle," or 
" chivalrous romance." As in Scott, they may be light- 
ened and embellished by the introduction of shorter 
lyrics, like the songs incidental to an opera, which 
illustrate while they serve to carry on the plot. 

Strength and Vigour is nowhere to be found more 
strikingly displayed than in the writings of Lord Byron. 
He must, however, be studied for style, and not weighed 
by the great law of ethics. In his works will be found 
the highest flashes of poetical genius; his muse is a 
bright, brilliant, fascinating beauty ; but, like all beauties 
devoid of virtue, her spells are dangerous. Byron's de- 
scriptive powers — what the Germans call word-painting 



56 A HANDBOOK OF POETRY. 

— were enormous. " The Eve of the Battle," "beginning, 
"There was a sound of revelry by night," from the 
" Childe Harold," will alone serve to convince the student 
of what poetry is capable of achieving in bringing an 
enacted scene to the mind's eye of the reader. 

Grandeur is a quality in poetry not to be achieved by 
a minor bard, and not to be found in many who have 
been, by common consent, classed among the major ones. 
The grandest of all poets in diction is Shakspeare ; and 
for his subjects, Milton. The lines in Shakspeare, " The 
cloud-capt towers," convey the greatest idea of vastness 
and grandeur it is possible to conceive. The "Paradise 
Lost," which contains many weak lines, has, on the other 
hand, some of the grandest in the language. Shakspeare 
and Milton will scarcely be emulated by those who have 
need of a handbook of poetry ; but, as the merest tyro 
in drawing ought to copy from the purest and severest 
models of the art, so ought Shakspeare and Milton to be 
attentively read by all who even dream of clothing their 
thoughts in verse. 

Fancy, Sweetness, and Melody find their exponent in 
Thomas Moore. Moore is all honey ; he almost cloys you 
with his excessive sweetness. To listen to his poetry is as 
if some one should take you into a conservatory where 
there was the perfume of the toilet added to the natural 
odour of the flowers. It is as a Lyric Poet that he 
should be chiefly studied. No poet ever more thoroughly 
ran through every change of the lyre than Thomas 



A HANDBOOK OF POETRY. 57 

Moore. He entirely understood what a song ought to be — 
a speciality. Its theme may be varied; it may be patriotic, 
it may be bacchanal, it may be a lay of love, or it may 
be descriptive of your mistress's eyebrow, or of a ruined 
abbey, but it must contain a sentiment, the picture must 
call up some feeling, call back some memory. Mere de- 
scription won't do ; there must be something that causes 
a thrill of emotion to vibrate in the heart. Take Moore's 
descriptive songs. What can be more descriptive than 
" The meeting of the waters ? " You seem to realize the 
scene, and yet how admirably the sentiment is blended 
with it. 

'T was not the soft magic of streamlet or hill ; 
Oh, no ! it was something more exquisite still. 

As the art of song-writing will be more particularly 
alluded to in a subsequent chapter, it is unnecessary to 
pursue the subject further here. Sweetness, tenderness, 
and expression may be attained without the great elabo- 
ration which these qualifications have obtained at the 
hands of Moore. 

Rural Imagery has never been carried to greater 
perfection than in the songs and lyrics of Eobert Burns. 
Of Burns it has been said, "His conceptions were all 
original, his thoughts were all new and weighty, his 
style unborrowed, and he owes no honour to the subjects 
which his Muse selected, for they are ordinary, and such 
as would have tempted no poet, save himself, to sing 



58 A HANDBOOK OF POETRY. 

about." * He turned his eyes to lowly objects — the moun- 
tain daisy, the poor field-mouse, the wounded hare, &c., 
and proved by the magic of his genius that among the 
lowliest are still the holiest of things. For natural 
objects and their associations, Burns is the best model 
that can be studied. Many other writers have accurately 
described rural scenery, but where they have done so 
without imagery, their poetry has not endured; it has 
bordered too closely on descriptive verse to be acknow- 
ledged as poetry. 

Pathos and Sentiment, combined with a tone of 
melancholy, tempered by sweetness, are the attributes of 
most of our lady writers, the chief of whom, as regards 
modern verse, is Mrs. Hemans. To the writings of this 
lady more youthful poets and poetesses owe their inspi- 
ration than to any recent writer. Domestic troubles, 
the home affections, and other kindred subjects, formed 
the groundwork of many of her poems. The student 
must, however, be cautioned against giving his verses 
a tone of morbid sentimentality. The object of true 
poetry is akin to that of true religion, to make us 
happier and more contented in our stations, and not 
to feel with Rogers, in those much bequizzed lines of 
his, — 

There's such a charm in melancholy, 
I would not if I could be gay. 

* Allan Cunningham. 



A HANDBOOK OF POETRY. 59 

Mrs. Hemans displays considerable originality in her 
phraseology, and her rhythms are varied and ingenious, 
while the religious tone of her verses make them suitable 
models for imitation. 

Smoothness and Expression are exemplified in Pope 
to a degree that amounts to perfection ; for the liquid 
flow of his versification, the harmony of his numbers, 
the model poet of all times, he has never been surpassed 
by those who have succeeded him. But Pope must be 
studied for his skill in execution. He appeals more to 
the ear than to the heart, and nowhere lifts us into the 
realms of imagination, or thrills us with a wild dream 
of passion, as does Byron, and others who have caught 
much of his facility, and beautified and embellished his 
style. Completeness of design, terseness of diction, 
pleasing images, sweetness of verse, and strong reflective 
good sense, form the chief qualities of his writings ; but 
we look in vain for pathos. As "the master of the 
school " of correctly rhymed language, it is to Pope that 
we must turn for the most valuable lessons in the art. 

Imagery has been crowded into modern verse to an 
extent that has, in many cases, rendered it obscure ; yet 
imagery, used with discretion, is the chief thing that 
constitutes the difference between poetic and prosaic lan- 
guage. Alfred Tennyson and Alexander Smith have 
indulged in an over- crowding of images that has led 
them into a mannerism of phraseology by no means 
acceptable to the admirers of pleasing verse. By their 



60 A HANDBOOK OF POETRY. 

subtlety of thought they have rendered their writings 
acceptable to the scholar and deep thinker, but they have 
excluded themselves from that larger and outer world, 
the general public, by which a great and widespread 
reputation can alone be made and retained. Reading 
their poetry is like gold- seeking : you are so intent on 
picking out the nuggets, that you care little for their 
surroundings. There are plenty of pleasing images in 
Burns, but we don't lose the beauty of the setting in 
the dazzle of the gems. As a study of how image upon 
image may be crowded into verse, and of what imagery in 
poetry is, these writers may be consulted with advantage. 

Satieje is a dangerous weapon in the hands of a poet, 
and the proverb about " edged tools " should always be 
remembered by those who indulge in it. Few writers 
of satirical verse have not found reasons for wishing 
that much that they had perpetrated could be unwritten. 
There is, moreover, in writing satire, a tendency to in- 
dulge in that which is fatal to all poetry — vulgarity. 
For any permanent reputation that can be gained by 
writing satire, the time is usually thrown away; the 
objects satirized pass into oblivion, and with them the 
satire they called forth. Swift, who nnited the coarsest 
of matter with the smoothest of verse, may be regarded 
as the greatest satirical poet; yet few would covet the 
sort of notoriety, which, though a celebrity, is scarcely 
fame, that posterity has bestowed upon this writer. 

Satire requires to be written in the most polished verse. 



A HANDBOOK OF POETRY. 61 

Satire in doggerel debases the satirist beneath the matter 
satirized, however mean or low it may be. 

Swift, Pope in "The Dunciad," Gifford in "The 
Baviad," and Byron's "English Bards," are the works 
to be cod suited by the' would-be satirist. 

Wit and Humour differ from satire, inasmuch as 
they are pleasing and humanizing, while the latter is 
caustic and cutting ; yet both may be written under the 
generic title of comic verse. Wit and humour, however, 
differ from each other, as they both differ from satire. A 
few moments devoted to the consideration of this dis- 
tinction, and the authorities that can be brought to bear 
upon it, may be useful to the student in this branch of 
the poetic art. 

Some writers place " wit " above " humour " in the 
scale of mental qualification, and some reverse the pro- 
position. " Wit," Bulwer Lytton makes one of his cha- 
racters observe, " is the philosopher's quality, humour, 
the poet's ; the nature of wit relates to things, humour 
to persons ; wit utters brilliant truths, humour delicate 
deductions from the knowledge of individual character." 
This I believe to be pretty near the truth, as we accept 
the terms at the present time, when comparing one man's 
writing with another's ; though, after all, — 

A jest's prosperity lies in the ear 

Of him that hears it, never in the tongue 

Of him that makes it. 

And there are in the world those hard, dry, and mecha- 



62 A HANDBOOK OF POETRY. 

nical geniuses, that all wit and hnmour is a mystery to 
them. 

Dryden explained wit to be " a propriety of thoughts 
and words," or, in other words, only giving a general 
character of all good writing ; while Congreve, who was 
both a wit and a humorist, modestly confessed, "we 
cannot tell what wit and humour are."* 

Another expositor, who places humour above wit, says, 
" It is felt to be a higher, finer, and more genial thing 
than wit, or the mere ludicrous. It is the combination," 
he suggests, " of the laughable with an element of tender- 
ness, sympathy, warm-heartedness, or affection." " Now, 
wit sweetened by a kind loving expression, becomes 
humour. Men who have little tenderness in their nature, 
or whose language and manners are destitute of soft, 
warm, and affectionate feeling, cannot be humorists, 
however witty they may be." There is no humour, as 
this writer understands the term, in Butler, Pope, Swift, 
Dryden, or Ben Jonson. 

Wit may be soured as well as sweetened, and satire 
and irony used unsparingly may produce a painful 
impression, and deprive those who use them of any 
pretension to be considered as humorists. 

* The reader is referred to an elaborate article, illustrative of 
" Barrow on Wit," in the " New Monthly Magazine," for March, 
1857, to which the author is indebted for some of the authorities 
quoted, and to the author of which he acknowledges his obliga- 
tions for some of the opinions he has adopted. 



A HANDBOOK OF POETRY. 63 

There is little doubt that wit was originally the 
general term for all the intellectual powers — the faculties 
which see, know, and understand, and was gradually 
narrowed to its present signification to express merely 
the resemblance between ideas and the blending of them 
so as to cause a surprise to the understanding. 

According to this view "wit exists by antipathy, 
humour by sympathy ; wit laughs at things, humour 
with them. Wit lashes external appearances, or cun- 
ningly exaggerates foibles into character ; humour glides 
into the heart of its object, looks lovingly on the in- 
firmities it details, and represents the whole man." To 
illustrate this by some names the reader is well ac- 
quainted with, Jerrold and Thackeray are wits, Goldsmith 
and Dickens humorists. 

"Wit is abrupt, darting, scornful, and tosses its 
analogies in your face; humour is slow, and insinuates 
its fun into your heart." If we accept these definitions, 
a man of talent may be a wit, but a genius can alone 
be a great humorist. 

Among the modern definitions of wit, that of Leigh 
Hunt may be quoted. He says, " Wit may be defined to 
be the arbitrary juxtaposition of dissimilar ideas for 
some lively purpose of assimilation or contrast, gene- 
rally of both." He calls it "the clash and reconcile- 
ment of incongruities ; the meeting of extremes round 
a corner; the flashing of an artificial fight from one 
object to another, disclosing some unexpected resem- 



64 A HANDBOOK OF POETRY. 

blance or connection. It is the detection of likeness in 
unlikeness, of sympathy in antipathy, or the extreme 
points of antipathy themselves, made friends by the 
very merriment of their meeting. The form or mode 
is comparatively of no consequence, provided it give no 
trouble to the comprehension; and you may bring as 
many ideas together as can pleasantly assemble. But 
a single one is nothing ; two ideas are as necessary to 
wit as couples are to marriages, and the union is happy 
in proportion to the agreeableness of the offspring." 

Had Leigh Hunt been writing of Thomas Hood, he 
could not have more aptly summed up his special 
qualities in this branch of his art, for I look upon Hood 
as one of the greatest wits of the age. So determined 
was he in his propensity to "reconcile incongruities," 
to make words of opposite meaning clash and yet 
combine, — in other words, so inveterate a punster was 
he, that he did not scruple to bring even repulsive and 
disagreeable things to bear upon his subject, such as 
suicide, murder, death, and the grave; but, it must be 
added, never in a mocking spirit, nor with an unworthy 
motive. 

Hazlitt has admirably pointed out where the danger of 
representing serious matters in a comic light actually 
lies. He says, " Surprise at perceiving anything out of its 
usual place, where the unusualness is not accompanied by 
a sense of serious danger, is always pleasurable, and it is 
observable that surprise accompanied with circumstances 



A HANDBOOK OF POETRY. 65 

of danger becomes tragic ; in other words, while the mere 
suddenness of transition, the mere baulking our expec- 
tations, and turning them suddenly into another channel, 
seems to give additional liveliness and gaiety to the 
animal spirits, the instant the change is not only sudden, 
but threatens serious consequences, or calls up the shape 
of danger, that instant is our disposition to mirth super- 
seded by terror, and laughter gives place to tears." 

Thomas Hood, James and Horace Smith, the " Ingoldsby 
Legends" (Barham), and Mr. W. M. Thackeray's Ballads, 
afford ample scope in which to study the various rhythms 
and methods adopted by the writers of wit and humour. 



Having pointed out the various styles that predominate 
in the poetry of certain writers, the student must observe 
that* they all enter more or less into every class of 
metrical composition; and it is by a happy blending 
of all these essential qualifications that anything like 
eminence can be attained. He will probably lean to 
some particular one, according to the bent of his own 
inclination, or the requirements of the subject upon 
which he proposes to treat; but not the less should 
they all be carefully studied and considered. 

Not less in poetry than in prose writing is perspicuity 
an essential element; it is that which gives clearness of 
diction, while the choice of words gives elegance of 
phraseology. The requirements of poetry will generally 
determine the length of the sentences ; but, as inversion 

p 



66 A HANDBOOK OF POETRY. 

of language is frequently resorted to for the sake of a 
rhyme, it must be used with the greatest care, and very 
slightly, or obscurity will be sure to result. 

As an instance of inversion of language, and the 
danger arising from it, take the following from the well- 
known psalm commencing, " My soul, praise the Lord ; 
speak good of his name : " — 

His chamber-beams lie in the clouds full sure, 
Which, as his chariots, are made him to bear ; 

And there, with much swiftness, his course doth endure, 
Upon the wings riding, of winds in the air ; 

from the ludicrous effect of which even its sacred character 
does not permit us to escape. 

The confusion of the Tenses (by which is meant, in 
grammar, the distinction of time) is one of the most 
frequent errors into which young writers are apt to fall. 
For instance, you may frequently meet with a stanza 
beginning in the perfect tense, such as — 

I have loved thee, maiden, dearly, 

For thy smiles with bliss were fraught ; 

and then going off into the imperfect tense, thus : — 

Yes! I loved her for her beauty, 
Never absent from my thought. 

The reader will say " this is doggerel," and with truth ; 
but it is better to write grammatical doggerel than to 
sacrifice both sense and grammar. 



A HAND-BOOK OF POETRY. 67 

Here is another verse from a song : — 

Thou hast sworn my bride to be, love, 

And my word to thee is passed ; 
All my hopes are fixed on thee, love, 

You may trust me to the last. 

" Thou hast " is in the second person singular of the 
indicative mood, present tense, of the auxiliary verb " to 
have." " Thou may'st," being also an auxiliary verb in 
the same tense, ought to have been used here instead of 
" you may," which is only used in the plural in this tense. 

The constant use of the auxiliary verb, as in the lines, — 

Therefore my heart all grief defies, 
My glory does rejoice ; 

must be avoided as a vulgarism, not now to be tolerated 
in elegant verse. In brief, the rules of grammar must be 
as strictly followed in poetry as in prose ; and unless the 
beginner has mastered his own language, he will have but 
little chance of succeeding in that of the Muses' and the 
Graces'. 



j 2 




CHAPTER V. 

ON ORNAMENT. 

OETRT is ornamented by tropes, imagery, 
figures, similes, and metaphors. A metaphor 
is the application of a word to another use 
than that its original meaning implies; it is also called 
in poetry a " figure of speech," or a simile. The use of 
metaphor is likewise called imagery, since it likens one 
thing to another which it is not, but with which it will 
bear a comparison, and thus turn what would be a 
homely phrase into an apt poetical conceit. 

Figurate language is of very ancient date; the most 
barbarous nations use it, and it seems to be as natural 
to the untutored savage as it is attainable by the most 
accomplished linguist. An address of condolence recently 
sent to Her Majesty the Queen, on the lamented demise 
of H.R.H. the Prince Consort, by the native New Zealand 
chiefs, was as full of imagery as many of the finest poems 
in our language. What better proof that it is grateful to 
the perceptive faculties of man, since it is not so much 
the result of civilization, as the carrying out of one of 



A HANDBOOK OF POETRY. 69 

those grand principles for which language, in its un- 
bounded variety, was given to us. 

For an author to say, " I reaped my harvest early in 
the day," in allusion to his having been rewarded for his 
efforts early in life, would be for him to use a metaphor ; 
he reaped no harvest in the harvest-field, but no one can 
mistake the meaning. " I made my money in my early 
days " would be the plain English of it, and correspond 
with the sentence in rhythm, but what would become of 
the jpoetry? 

Metaphors should never be crowded together, as I have 
before explained; it is difficult for the mind to grasp a 
number of brilliant objects presented in quick succession. 

Metaphor is founded on comparison : in contradistinc- 
tion to it is Antithesis, one of the most useful figures in 
poetry, since it is the contrast or opposition of two objects. 
Light and shade are always charming in a picture, whether 
the medium producing it be the pencil or the pen. 

As an example of antithesis we cannot improve on 
that selected in the old familiar volume of our schoolboy 
days — 

Tho' deep, yet clear ; tho' gentle, yet not dull ; 
Strong, without rage ; without o'erflowing, full. 

Apostrophe can be used but seldom in poetry. It is 
the turning off from the regular course of the subject to 
address some person or thing, as " Oh, death ! where is 
thy sting ? " Here is an example from Mrs. Hemans : — 



70 A HANDBOOK OF POETRY. 

And his cold still glance on my spirit fell 
"With an icy ray and a withering spell — 
Oh ! chill is the house of sleep ! 

In these lines we have the metaphor " icy ray" as well 
as the apostrophe. 
Here is another example : — 

Thy fond idolatry, thy blind excess, 
And seek with Him that bower of blessedness — 
Love ! thy sole home is heaven ! 

Allegory is more a style of writing in itself than an 
ornament introduced into poetry. An allegory is, how- 
ever, sometimes admitted in the course of a long poem. 
It may be described as a sustained metaphor, or the carry- 
ing out of an idea by one set of objects that are made to 
represent others. It is considered by modern writers to 
be an inflated style of composition, and is not frequently 
resorted to. 

Hyperbole is a figure applied to exaggeration, to express 
where an object is magnified beyond its natural bounds. 
Many examples might be given with weighty names 
attached, but the careful student need scarcely be warned 
against falling into this error. Here is one example, from 
an elegantly printed volume of poems, picked up at a 
book-stall : — 

Oh ! minstrel ! never sing again 

Such plaintive notes unto me ; 
They make me deem this world a den 

Of fiends who aye pursue me. 



A HANDBOOK OF POETRY. 71 

Teopes and Imagery also consist in an idea, or a set of 
ideas, being expressed by other objects than themselves, 
but with which they are associated in the imagination of 
the poet, and familiarly conveyed to the mind of the 
reader. 

The following are some of the best examples to be found 
in modern verse: — 

It was his nature 
To blossom into song, as 'tis a tree's 
To leaf itself in April. — Alexander Smith. 

And what if all of animated nature 
Be but organic harps diversely framed, 
That tremble into thought, as o'er them sweep, 
Plastic and vast, one intellectual breeze ? 

S. T. Coleridge. 

His soul was rich ; 
And this his book unveils it, as the night 
Her panting wealth of stars. — Alexander Smith. 

Some maid of the waters, some naiad, methought 
Held me dear in the pearl of her eye. — Thomas Hood. 

And make their quivering leafy dimness thrill 
To the rich breeze of song. — Mrs. Hemans. 

magic sleep ! comfortable bird, 

That broodest o'er the troubled sea of the mind. — Keats. 

One who shall hallow poetry to Grod 

And to his own high use ; for poetry is 

The grandest chariot wherein king-thoughts ride. 

Alexander Smith. 



72 A HANDBOOK OF POETRY. 

I saw the skirts of the departing year. 

S. T. Coleridge. 

Oh, star-eyed science ! hast thou wandered there ? 

T. Campbell. 

Along the pebbled shore of memory. — Keats. 

A solitary swan her breast of snow 
Launches against the wave. — T. Hood. 

O'er their low pastoral valleys might the tide 
Of years have flowed ! — Mrs. Hemans. 

What lit your eyes with tearful power, 

Like moonlight on a falling shower ? — Tennyson. 

Their home knew but affection's looks and speech — 
A little heaven, above dissention's reach. — Campbell. 

The stars among the branches hang like fruit ; 

So, hopes were thick within me. — Alexander Smith. 

With trumpet-voice thy spirit called aloud. 

Mrs. Hemans. 

In yonder pensile orb, and every sphere 

That gems the starry girdle of the year. — Campbell. 

We coursed about 
The subject most at heart, more near and near, 
Like doves about a dovecote, wheeling round 
The central wish, until we settled there. — Tennyson. 

Then in the boyhood of the year. — Tennyson. 

Repentant day 
Frees with his dying hand the pallid stars 
He held imprisoned since his young hot dawn. 



A HANDBOOK OF POETRY. 73 

Now watch with what a silent step of fear 
They'll steal out one by one, and overspread 
The cool delicious meadows of the night. 

Alexander Smth. 

I was a cloud 
That caught its glory from a sunken sun, 
And gradual burned into its native grey. 

Alexander Smth. 

The ghost of one bright hour 
Comes from its grave and stands before me. 

Alexander Smth. 

The garrulous sea is talking to the shore ; 

Let us go down and hear the greybeard's speech. 

Alexander Smith. 

In contradistinction to the foregoing " gems of 
thought," it may "be as well to point out, in a few 
examples, what is meant by prosaic lines : — 

She listened to the sound, 
Till almost out of oreath. 

The summer's sun is shining down 
With its accustomed heat. 

But now my lovers all are gone, 
The harp I cannot hear. 

Thy cheeks are like the Christmas rose 

Instead of that of June ; 
The tear-drop trembles in thine eyes ; 

Thy voice seems out of tune. 



74 



A HANDBOOK OF POETRY. 

The battle there they nobly won, 
And though their loss was great, 

Their strength maintained them in the fight, 
Nor did their zeal abate. 



But enough of such examples. I would not wound the 
tender susceptibilities of the most harmless bard. I 
only hope that those who do me the favour to study my 
"handbook" will do better. 

Compound words are among the most graceful orna- 
ments that poetry is capable of receiving. A few of them, 
selected from the standard poets, may be useful to the 
young student, but it would be better that he should, in 
all cases, invent new ones for himself. 

Book-world applied to the world of letters, literary- 

society. 

Bright-haired „ light, flaxen hair. 

Blood-nursed „ brought up in cruelty. 

Battle-cloud „ the smoke of a battle. 

Bosom-child „ the child of our love. 

Crimson-mouthed „ shells. 

Chilly-fingered „ early spring. 

Chain-drooped „ a lamp suspended by a 

chain. 

Deep-damasked „ darkly red. 

Evening-lighted „ dimly lit by twilight. 

Ever-fleeting „ passing away. 

Flower-like „ fragile as a flower. 



A HANDBOOK OF POETRY. 



75 



Full-brimmed applied to a glass filled to the brim. 

Fountain-foam „ the foam of a fountain. 

Gold-haired {see Bright-haired.) 

Golden-winged applied to truth, in metaphor. 

Gold-tinted „ gold- coloured. 

Hedge-grown „ wild flowers. 

Horror-smitten „ frightened, terrified. 

Incense-pillowed „ sleeping amid flowers. 

Joy-giver „ something that imparts 

joy; wine. 

"King-thought „ a noble thought. 

Love-lorn „ pining for love. 

Love-tune „ the air of a love song. 

Meadow-sweet „ teeming with perfume of 

wild flowers. 

Mist-shroud „ a light cloud or fog. 

Music-swell „ prolonged sound. 

Mild-minded „ melancholy, gentle. 

Moon-led „ lit by the moon. 

Passion-panting „ breast heaving with pas- 

sion. 

Plume-like „ waving like a plume; to 

foliage. 

Purple- stained „ coloured purple ; to fruit. 

Rose- wreathed „ wearing a wreath of roses. 

Rose-hued „ coloured like a rose. 

Rosy -lipped „ with red lips ; also to shells. 

Slumber-parted „ lips parted in sleep. 



76 



A HANDBOOK OF POETRY. 



Sun-kissed applied to fruit ripened by the sun. 

Sweet-breathed „ giving perfume ; to flowers. 

Sabre-like „ cutting, sharp; to truth. 

Silver-toned „ soft, sweet of tone. 

Smooth-lipped „ fawning, persuasive. 

Sun- steeped „ bathed in sunshine. 

Silver-chiming „ sweet sounding ; to bells. 

Soul-struck „ sudden love. 

Sun-bright „ bright as sunshine. 

Travel- stained „ soiled by travel. 

Thatched-roofed „ roofed with thatch. 

Tavern-hours „ late hours. 

Thought-rapt „ in study. 

Tear-dimmed „ obscured by tears ; the eye. 

Vine- encircled „ surrounded by vines. 

Vine-clad „ clothed by vines; trees, 

walls, &c. 

World-worn „ worn by care. 

Wave- worn „ worn away by the sea. 

Willow- veiled „ hidden by willows; a stream. 

Wind- scattered „ scattered by the wind. 

Wild-eyed „ with quick, glancing eyes. 

Wood-note „ the song of a bird. 




CHAPTEE VI. 

ON SONG WHITING. 

HE first attempt of almost every young writer 
being a song, a ballad, or a set o'f " words for 
music," a few words of warning and advice 
on this subject may not be out of place : it is there- 
fore appended, together with a rapid sketch of the 
rise and progress of this branch of literary composition. 
It is very easy to make fair verses, but it is not very- 
easy to make a song. Many of our best poets have tried 
it and failed, while not a few of our best songs have been 
written by comparatively uneducated men ; in this case, 
however, it has been rather an inspiration than a com- 
position. Very many persons consider a song a trifling 
thing because it is short ; they forget the compression that 
is necessary to combine closeness of thought, simplicity, 
pathos, and music. The song-writer should be the con- 
juror who can put a quart into a pint bottle ; in other 
words, he should distil his thoughts and only bottle the 
spirit. Burns has somewhere said, that "those who 
consider a song a trifle easy to be written, should set 
themselves down and try." 



78 A HANDBOOK OF POETRY. 

Mr. Procter (Barry Cornwall) has said that " a song 
may be considered as the expression of a sentiment, vary- 
ing according to the hnmour of the poet. It should he 
fitted for music, and should, in fact, be better for the 
accompaniment of music, otherwise it cannot be deemed 
essentially a song." Dr. Mackay says, " A song should be 
like an epigram, complete and entire ; it should give voice 
to one prevailing idea ; be short and terse, and end with 
the natural climax of the sentiment." 

I cordially agree with both these opinions, but there 
is something more required in the mechanical construc- 
tion of a song. It must be vocal — that is to say, 
it must contain no unsingable words, no hissing con- 
sonants or closed sounds, that would shut up the singer's 
mouth ; and, above all, each part or verse must agree 
with the others. 

In writing for music, then, avoid as much as possible 
words beginning with the hissing consonant "s," except 
where followed by the open vowel "o," as in "sound," 
&c. 

Sound, sound the trumpet boldly, 

would be a very good line for music, while — 

Sing, sing the song sorrow, 

would be a very bad one. 

The word " wish " is also one of the most unpleasant 
in the mouth of both singer and speaker. 

The origin of English song, as we understand a song, 



A HANDBOOK OF POETRY. 79 

cannot be traced farther back than the time of Elizabeth ; 
indeed, as Eistin, the best authority on the subject, 
observes, " Not a single composition of that nature, with 
the smallest degree of merit, can be discovered at any 
preceding period." Amply, however, did Shakspeare 
and Ben Jonson make np for lost time, for they gave 
us songs which have never been surpassed to the present 
period*. The revolution of 1660 was not a period favour- 
able to this class of composition, but at the Restoration 
a galaxy of lyric poets appeared — Herrick, Lovelace, 
Suckling, and others, whose writings the student will 
do well to study. 

Probably the decline of healthy and nervous English 
verse may be attributed to the turncoat and shuttle- 
cock Dryden, who, although he had much learning and 
a cultivated taste, turned the Muses into waiting-maids, 
and wore plush himself for the sake of the crumbs that 
might fall from the tables of his rich patrons. Indeed 
it has been said, with much truth, that since his time 
" true feeling degenerated and nature really gave way 
to art." The time, however, came when all this was to 
be righted. Burns, the greatest of all lyric poets, lived 
and sung, and by his side were many worthy singers.. 
Ireland gave us Sheridan and Moore, and England 
Dibdin. 

It must be borne in mind that all short lyrics are 
not songs, although all songs are lyrics. Our language 
contains thousands of charming lyrics which were never 



80 A HANDBOOK OF POETRY, 

intended for music, and which wonld not be improved 
by being set to music; there are lyrics written to be 
read and lyrics written to be sung. The latter are, or 
ought to be, songs ; in too many cases they are so many 
superficial inches of prose, cut into lengths and rounded 
at the ends — made, in fact, as they make lucifer matches, 
by machinery. It is to be hoped that a careful study of 
the foregoing pages may lead to some improvement in 
this respect, by teaching the tyro what are the responsi- 
bilities of the poet. 

As regards the themes suitable for song, it was long 
considered that Love, War, and Wine were the only allow- 
able ones, and until recent times such was the case in 
practice. We owe it to our female poets that this barrier 
has been thrown down, though our German cousins have 
long considered pastoral and home themes to be fitting 
subjects for song. Goethe, who wrote many pieces cor- 
responding to our modern songs, says, " The world is so 
large, and life so varied, that there can never be a dearth 
of occasions for poems. All poems ought to be occa- 
sional pieces, that is to say, real life ought to furnish 
the occasion and the material. A speciality becomes 
general and poetical in the hands of the poet. All my 
poems are occasional pieces ; they are prompted by and 
rooted in real life. Let no one say that reality lacks 
poetical interest, for a poet, if he be a real poet, ought 
to invest commonplace subjects with interest. Beality 
furnishes the beautiful and life-like in creation." 



J HANDBOOK OF POETRY. 81 

Closely approximating to the song, and considered by 
the uninitiated to be the same thing, is the ballad, not 
the old metrical ballad chronicling the deeds of the hero, 
or the feats of chivalry accomplished by the ancients, 
of which " Chevy Chase " and the Eobin Hood ballads 
are a sample, but the short poem suitable for music, 
in which a little story is told, rather than a sentiment 
deftly put. This is a style of composition much in vogue 
and approved of by many composers, as giving them an 
opportunity of displaying variety in musical treatment 
which cannot be indulged in when setting lines which 
form strictly a song. Thus, it will be observed, our 
shorter lyric poetry divides itself into three classes: — 
1st, the short fugitive poem not suitable for music, 
written to be read only; 2ndly, the song embodying a 
sentiment or conceit; and 3rdly, the ballad, or short 
narrative poem. 

Burns is one of the best writers that can be studied 
for song writing, because his songs are natural and un- 
affected, and they combine withal a quiet pathos that 
at once comes home to the heart; they are, moreover, 
thoroughly manly and independent. As Cunningham 
said of him, " all he has written is distinguished by a 
happy carelessness, a fine elasticity of spirit, and a 
singular felicity of expression. Careless yet concise, he 
sheds a redeeming light on all he touches; whatever 
his eye glances on rises into life and beauty." 

The songs of Charles Dibdin, though immensely 

G 



82 A HANDBOOK OF POETRY. 

popular in their day, must be studied with a qualifi- 
cation. To say that he has not written many manly 
and noble strains, would be to assert that which is not 
true. I admit that he was actuated by a high and 
generous feeling, as expressed in his writings, though 
not borne out by his personal career; but I cannot 
discover that elevated tone which his editors and admirers 
claim for him. To me his preaching seems to be of the 
late Bo'sen Smith order; but we must make this allow- 
ance, that a rough audience required a rough style of 
song, and Dibdin, making his sailors speak for themselves, 
by writing many of his songs in the first person, adopted 
their language. This, however, constitutes no claim for 
him to be considered the first of British song writers. 
The introduction of the verbiage of the forecastle was 
not necessary to produce a perfect sea-song: witness 
Campbell's noble ode, " Ye Mariners of England," Prince 
Hoare's " Arethusa," Cunningham's " A Wet Sheet and 
a Flowing Sail," George Alexander Stevens's "Cease, 
rude Boreas," and Andrew Cherry's " Bay of Biscay," 
all smelling of tar, and dashing and splashing their 
harmonious flow, like the rush of the blue waters they 
celebrate. 

Thomas Campbell's naval songs are masterpieces of 
composition; while his longer poems will always be 
cherished with pleasure by the scholar and the student, 
his songs will always find an echo in the hearts of the 
people. "His words, rapid and glowing with martial 



A HANDBOOK OF POETRY. 83 

vigour, still flow along with a liquid harmony of versifi- 
cation; only Burns in his 'Brace's Address,' and Scott 
in his ' Donieul Dhu,' can be compared with Campbell 
in the strong and passionate energy of his patriotic 
lays." * Some of Campbell's metres are new and strik- 
ing. What a grand swell there is in that torrent of verse, 
"The Battle of the Baltic." The student will observe 
the peculiar elongation of the fifth line, balanced by 
the short one at the end, like a suspended chord in 
music that is not instantly resolved, and yet when it is, 
the harmony is full, complete, and agreeable. Indeed 
in this song Campbell has applied a rule of musical 
composition in the construction of a written verse. 

Again, in " Hohenlinden," we have a new form of verse, 
frequently imitated, but invented by Campbell ; and yet 
again, in "Ye Mariners of England," how the peculiar 
construction of the verse adds to the glory of the song ; 
and that reiteration of the last line, which is not a 
chorus, but a sort of rebound of the sentiment, which 
brings up every verse as with the clang and clash of 
cymbals. I think we may take Campbell's songs as the 
standard by which we may measure all songs. If I do 
not place him above Burns, it is because I would not 
place a diamond cut and polished by skill and art, before 
a flower formed and beautiful by the hand of Nature. 
What Campbell accomplished others may accomplish, 

* Cunningham. 

G 2 



84 A HANDBOOK OF POETRY. 

but no mortal can learn to do what Burns did. Camp- 
bell is a brilliant of the first water. 

I have already, in the chapter devoted to style, alluded 
to the characteristics of Thomas Moore, the first of 
modern song writers; it is, therefore, unnecessary to 
repeat them here. It was Moore's good fortune to 
restore a meaning and expression to the language of 
«ong, which, since the days of Herrick, Waller, Lovelace, 
and those glorious song writers of the seventeenth 
century, had greatly degenerated. A reference to any 
song-book published in England previously to 1800 will 
prove how utterly worthless was our then song literature. 

"When Eobert Burns died, Moore was sixteen years of 
age, and it was not until after Burns's death that his 
songs were much known in England ; indeed I may say 
that it was not until within the last quarter of a century 
that Burns has been thoroughly known and appreciated 
here. Probably when Moore began to write Burns was 
scarcely known at all in Ireland. To Moore, then, still 
belongs the credit of having revived and regenerated 
English song. At a subsequent period Moore alludes to 
Burns, and expresses his surprise that a bard " wholly un- 
skilled in music should possess the rare art of adapting 
words successfully to notes, which," he adds, " were it not 
( for his example, I should say none but a poet versed in the 
sister art ought to attempt." I do not see this at all; all 
teachers of music will tell you that the greatest difficulty 
they have to contend with in beginners is too fine an 



A HANDBOOK OF POETRY. 85 

ear. The pupil who can catch up and retain a tune the 
moment he hears it, will not stop for the tedious process 
of finding it out by the notation, but will attempt to 
play it by ear long before he can properly manipulate 
upon the instrument. With Burns's strong perceptive 
powers and his fine ear, it would have been impossible 
for him, where he wrote to tunes, to have written incor- 
rectly. Moore himself admits that, "Burns, however 
untaught, was yet in ear and feeling a musician is clear 
from the skill with which he adapts his verse to the struc- 
ture and character of each different strain." 

That more depends upon the possession of a fine ear 
than to having acquired a knowledge of the theory of 
music, this opinion goes far to substantiate ; and I think 
it affords sufficient encouragement to the student not 
to be thwarted in his early efforts, because he has not 
that amount of musical knowledge which Moore con- 
sidered so indispensable. 

Without the slightest wish to disparage Moore's high 
merits as a song writer, it may be scarcely hazardous to 
remark, that he owes much of his popularity to the 
beautiful airs to which his words were wedded; but, 
even here the merit was his own, for it was his discern- 
ment that discovered the applicability of the wild strains 
of his native harp to the purposes of modern song, 
and their capability of being united to immortal verse. 
These melodies Moore graphically describes when he 
asserts that " a pretty air without words resembles one 



86 A HANDBOOK OF POETRY. 

of those "half creatures of Plato, which are described as 
wandering in search of themselves through the world. " 
In supplying the other half, by uniting many of the 
fugitive melodies of other lands to his undying words, 
Moore may be said to have given souls to the tenantless 
bodies, to have re-animated the ghosts of Dream-land, 
and to have given substance to that which was previously 
but a shade. 

Hogg, Cunningham, Lover, Lever, Gerald Griffin, 
Procter, C. Swain, Mackay, and Eliza Cook have all 
contributed largely and worthily to our song literature. 
Mrs. Hemans, the Hon. Mrs. Norton, L. E. L., and others, 
have also contributed many charming pathetic lyrics, 
admirably adapted for music; and, as time rolls on, 
doubtless many as worthy names will be added to the 
tuneful choir. It is possible that some of my readers 
may be already, in some sort, apprentices to the tuneful 
art, for I take it that few have not, at some time or other, 
endeavoured to string a couplet or two together, or tried 
their hands at a song. Well, it is very easy to do so ; you 
may even get into print, or print yourself, and call upon 
your friends to subscribe to what you have printed ; and 
you may even get noticed in the newspapers, and come 
to think you are rather clever at it than not. So far so 
good; everybody must have a beginning. Dr. Johnson 
observed, that the man who didn't begin to write until he 
knew how to write, wouldn't become an author at all ; but 
this I want you to remember, that there is a standard 



A HANDBOOK OF POETRY. 87 

to measure you by, and the test of that standard is time. 
If you have that within you which enables you to judge 
of this standard, though you may feel that you cannot 
approach it, you have a light that shall guide you on the 
way. What you have most to fear is the injudicious 
praise of friendly critics, or the taking for gospel the 
opinion of a reviewer who has not the slightest know- 
ledge of what he is writing about. I observed, not long 
ago, in the columns of a weekly paper, a notice of a 
volume of verse, in which the reviewer lauded the 
amiability of the writer, and stated that the poetry did 
not " rise above the song standard." Rise above the song 
standard ! Why, even if it had come up to it, the writer 
ought to be hailed as " the coming man." What the 
friendly critic meant as a qualifying remark was the 
highest praise he could bestow, supposing he knew what 
the song standard was. The song standard, in his sense 
of the word, was the one that music publishers and 
modern composers weigh by. " Can't you write me," a 
music publisher asked a well-known librettoist, " a song 
about — about nothing in particular, with a pretty title ? 
Nobody could object to that, you know." If the young 
writer would only think and study what a song ought to 
be before sitting down to compose it, we should have 
fewer songs about " nothing in particular, with pretty 
titles." 

It is because the art of writing verse has been too little 
studied, and the desire to rush into print too prematurely 



88 A HANDBOOK OF POETRY. 

indulged in, that we have so many nonsense verses. Beset 
with technicalities, and fettered by rules that were seldom 
followed, the student has thrown aside the old treatises, 
and relied on his own power of production, without giving 
the mechanism of the art a single thought. 

To lead him to a consideration of this, teaching him 
by examples what to imitate and what to avoid, has 
been my aim in this little treatise. I have pointed out 
to him the manner, the matter must rest with himself. 

The art of writing verse may be indulged in as a 
graceful accomplishment, and not necessarily as a pro- 
fession, and I am not without a hope that, as regards 
those who pursue it in the former spirit, I have not 
written in vain. To those who dream of following verse- 
making as a profession, no advice is necessary — none 
would be taken — I have only a single word for them, — 
Beware ! Still, I do not join the senseless cry that is 
constantly being made, that "the present is not an 
auspicious era for the verse which is to gain immortality." 
The present is never an era in which to gain immorta- 
lity, simply because the present never is the future. Of 
course, the critic who wrote the sentence I have quoted 
meant to say that the verse written at the present time 
was not destined to win immortality ; but I believe 
this has been said of all verse from Pope's time to our 
own, and it is certain that a great deal that was consi- 
dered to possess the seeds of immortality has rotted long 
before it came down to our own day. Remember, too, 



A HANDBOOK OF POETRY. 89 

that, as regards the past, we get the wheat from which 
the chaff has been winnowed ; what we have at present 
is in the bulk, and it is to be hoped that all will not be 
blown away in the process of sifting. It was Pope who 
said, that "in literature nothing good or lasting was 
ever written that had not to contend with the stream of 
time." That this "Handbook" may lead some of its 
readers to such a consideration of the Art of Poetry as 
may enable them to contend with it successfully, is the 
earnest wish and fervent hope of the author. 




A NEW 

POETICAL ANTHOLOGY. 



A NEW 

POETICAL ANTHOLOGY. 




the student who has not a poetical library 
at hand to refer to, the following pages will, 
in some measure, supply the deficiency. By 
them he will be enabled to see how the same subjects 
have been treated by different hands, and how, as has 
been before observed, " a generality becomes special in the 
hands of a poet." 

The selection is not a mere dictionary of familiar quo- 
tations, but some of the best thoughts of the best authors 
alphabetically arranged. ~No doubt it could have been 
considerably extended, but not without swelling this work 
to a bulk which would have placed it, in price, beyond 
the means of those for whom it is intended. As it is, 
nearly five hundred " gems of thought " have been in- 
cluded, in which many quotations from the standard 
poets have been blended with the lighter graces of 
modern verse. In all cases, however, the selections are 
made from such authors only as have been acknowledged 
by public and critical approbation. 

APRIL. 

Sweet April ! many a thought 
Is wedded unto thee as hearts are wed ; 
Nor shall they fail till, to its autumn brought, 

Life's golden fruit is shed. — Longfellow. 



94 A HANDBOOK OF POETRY. 

APRIL (continued). 

I never see 
Those dear delights which April still does bring, 

But memory's tongue repeats it all to me. 
I view her pictures with an anxious eye, 

I hear her stories with a pleasing pain : 
Youth's withered flowers, alas ! ye make me sigh, 
To think in me ye'll never bloom again. 

John Clare. 

When well-apparel'd April on the heel 
Of limping Winter treads. — Shakspeare. 

A day in April never came so sweet. 

To show how costly summer was at hand, 
As this fore-spurrer comes before his lord. 

Shakspeare. 
* 

Emblem of life, see changeful April sail, 
In varying rest, along the shadowy skies ; 
Now bidding summer's softest zephyrs rise ; 

Anon,' recalling winter's stormy gale, 

And pouring from the cloud her sudden hail ; 

Then, smiling through the tear that dims her eyes 
While Iris with her braid the welkin dyes, 

Promise of sunshine not so prone to fail. 

Kirke White. 

May never was the month of love, 

For May is full ol flowers ; 
But rather April, wet by kind, 
• For love is full of showers. 

Robert Southwell. 
AUTUMN. 

There is a beautiful spirit breathing now 
Its mellow richness on the clustered trees, 
And, from a beaker full of richest dyes, 
Pouring new glory on the autumn woods, 
And dipping in warm light the pillared clouds. 
Morn on the mountain, like a summer bird, 



A NEW POETICAL ANTHOLOGY. 95 

AUTUMN (continued). 

Lifts up her purple wing ; and in the vales 
The gentle wind, a sweet and passionate wooer, 
Kisses the blushing leaf, and stirs up life 
Within the solemn woods of ash deep- crimsoned, 
And silver beech, and maple yellow-leaved, 
Where Autumn, like a faint old man, sits down 
By the wayside a- weary. — Longfellow. 

When yellow autumn weighs 
The year, and adds to nights, and shortens days ; 
And suns declining shine with feeble rays. 

Dryden's "Virgil." 

The evening of the year. — Dryden's " Virgil." 

The summer flower has run to seed, 

And yellow is the woodland bough ; 
And every leaf of bush and weed 

Is tipt with autumn's pencil now. 
And I do love the varied hue, 

And I do love the browning plain; 
And I do love each scene to view, 

That's marked with beauties of her reign. 

John Clare. 

Hail, temperate Autumn ! mild, sedate, 
With russet clad in simple state, 

Thou claim' st the votive lay ; 
The dew the thirsty earth revives, 
Each droopiug plant new strength derives, 

Nor dreads the scorching ray. 

Elizabeth Bentley, 

Hence from the busy joy-resounding fields, 
In cheerful error, let us tread the maze 
Of autumn, unconfined ; and taste, revived, 
The breath of orchard big with bending fruit. 
Obedient to the breeze and beating ray, 
From the deep-loaded bough a mellow shower 



96 A HANDBOOK OF POETRY. 

AUTUMN {continued). 

Incessant melts away. The juicy pear 

Lies, in a soft profusion, scattered round. 

A various sweetness swells the gentle race, 

By Nature's all-refining hand prepared ; 

Of tempered sun and water, earth and air, 

In ever-changing composition mixed. — Thomson. 

Season of mists and mellow fraitfulness ! 

Close bosom friend of the maturing sun ; 
Conspiring with him how to load and bless 

With fruit the vines that round the thatch-eaves run ; 
To bend with apples the mossed cottage-trees, 
And fill all fruit with ripeness to the core ; 

To swell the gourd, and plump the hazel shells 
With a sweet kernel ; to set budding more, 
And still more later flowers for the bees, 
Until they think warm days will never cease, 

For summer has o'er-brimmed their clammy cells. 

Keats. 

Thou comest, Autumn, heralded by the rain, 
With banners by great gales incessant fanned, 
Brighter than brightest silks of Samarcand, 

And stately oxen harnessed to thy wain, 

Thou standest, like imperial Charlemagne, 
Upon thy bridge of gold ; thy royal hand 
Outstretched with benedictions o'er the land, 

Blessing the farms throughout thy vast domain. 
Thy shield is the red harvest moon, suspended 

So long beneath the heaven's o'erhanging eaves ; 
Thy steps are by the farmers' prayers attended ; 

Like flames upon an altar shine the sheaves ; 
And following thee, in thy oration splendid, 

Thine almoner, the wind, scatters the golden leaves. 

Longfellow. 

. The autumn skies are flushed with gold, 
And fair and bright the rivers run ; 
These are but streams of winter cold, 
And painted mists that quench the sun. 






A NEW POETICAL ANTHOLOGY. 97 

AUTUMN (continued). 

In secret boughs no sweet birds sing, 

In secret bonghs no bird can shroud ; 
These are but leaves that take to wing, 

And wintry winds that pipe so loud, 
"lis not trees' shade, but cloudy glooms 

That on the cheerless valleys fall, 
The flowers are in their grassy tombs, 

And tears of dew are on them all. — T. Hood. 

BEAUTY. 

A thing of beauty is a joy for ever : 
Its loveliness increases ; it will never 
Pass into nothingness ; but still will keep 
A bower quiet for us, and a sleep 
Full of sweet dreams.^nd quiet breathing. 

A native Grace 
Sat fair-proportioned on her polished limbs, 
Veiled in a simple robe, their best attire, 
Beyond the pomp of dress ; for loveliness 
Needs not the foreign aid of ornament, 
But is, when unadorned, adorned the most. 

Thomson. 

! she doth teach the torches to burn bright ; 
It seems she hangs upon the cheek of night 
Like a rich jewel in an iEthiop's ear ; 
Beauty too rich for use, for earth too dear. 
So shows a snowy dove trooping with crows, 
As yonder lady o'er her fellows shows. 

Shakspeake. 

Beauty is but a vain, a fleeting good, 
A shining gloss that fadeth suddenly, 

A flower that dies when almost in the bud, 
A brittle glass that breaketh suddenly. 

A fleeting good, a gloss, a glass, a flower, 

Lost, faded, broken, dead, within an hour. 

Shakspeake. 



98 A HANDBOOK OF POETRY. 

BELL.— BELLS. 

There is in souls a sympathy with sounds ; 
And as the mind is pitched the ear is pleased 
With melting airs or martial, brisk or grave, 
Some chord in unison with what we hear 
Is touched within us, and the heart replies. 
How soft the music of these village bells, 
railing at intervals upon the ear 
In cadence sweet, now dying all away, 
Now pealing loud again and louder still, 
Clear and sonorous, as the gale comes on ! 

Cowper. 

Bell ! thou soundest merrily 
When the bridal party 

To the church doth hie ! 
Bell, thou soundest solemnly 
When, on Sabbath morning, 

Fields deserted lie ! — Longfellow. 

Those evening bells ! those evening bells ! 
How many a tale their music tells 
Of youth, and home, and that sweet time 
When last I heard their soothing chime. 

Thomas Moore. 

The convent bells are ringing, 
But mournfully and slow ; 

In the grey square turret swinging, 
With a deep sound, to and fro : 
Heavily to the heart they go.— Byron. 

Like sweet bells jangled, out of tune and harsh. 

Shakspeare. 

BIRDS. . 

Tribes of the air ! whose favoured race 
May wander through the realms of space, 

Free guests of earth and sky ; 
In form, in plumage, and in song, 
What gifts of nature mark your throng 

With bright variety ! — Mrs. Hemans. 



A NEW POETICAL ANTHOLOGY. 99 

BIRDS (continued). 

How pleasant the life of a bird must be, 
Flitting about in each leafy tree ; 
In the leafy trees so broad and tall, 
Like a green and beautiful palace hall, 
"With its airy chambers, light and boon, 
That open to sun, and stars, and moon — 
That open unto the bright blue sky, 
And the frolicsome winds as they wander by. 

Mary Howitt. 

Birds ! birds ! ye are beautiful things, 

With your earth-treading feet and your cloud-cleav- 



mg wings 



Where shall man wander, and where shall he dwell, 
Beautiful birds, that ye come not as well ? 
Ye have nests on the mountain all rugged and stark, 
Ye have nests in the forest all tangled and dark ; 
Ye build and ye brood 'neath the cottager's eaves, 
And ye sleep on the sod *mid the bonnie green leaves. 

Eliza Cook. 

BROOK. 

Look at this brook, so blithe, so free ! 

Thus hath it been, fair boy, for ever — 

A shining, dancing, babbling river ; 
And thus 'twill ever be. 
'Twill run from mountain to the main, 

With just the same sweet babbling voice 

That now sings out, " Rejoice, rejoice ! " 

Barry Cornwall. 

Laugh of the mountain ! lyre of bird and tree ! 

Pomp of the meadow ! mirror of the morn ! 

The soul of April, unto whom are born 
The rose and jessamine, leaps wild in thee ! 

Although, where'er thy devious current strays, 
The lap of earth with gold and silver teems, 
To me thy clear proceeding brighter seems 

Than golden sands that charm each shepherd's gaze. 

Longfellow, 
h 2 



100 A HANDBOOK OF POETRY. 

BROOK (continued). 

See gentle brooks, how quietly they glide, 
Kissing the rugged banks on either side ; 
While in their crystal streams at once they show, 
And with them feed the flowers which they bestow. 
Tho' rudely thronged by a too near embrace, 
In gentle murmurs they keep on their race 
To the loved sea ; for streams have their desires, 
Cool as they are they feel love's powerful fires, 
And with such passion, that, if any force 
Stop or molest them in their am'rous course, 
They swell, break down with rage, and ravage o'er 
The banks they kissed and flowers they fed before. 

Sir John Denham. 

I steal by lawns and grassy plots, 

I slide by hazel covers ; 
I move the sweet forget-me-nots, 

That grow for happy lovers ; 
I murmur under moon and stars 

In brambly wildernesses, 
I linger by my shingly bars, 

I loiter round my cresses ; 
And out again I curve and flow 

To join the brimming river ; 
For men may come and men may go 

But I go on for ever ! — Tennyson. 

BUTTERFLY. 

He the gay garden round about doth fly, 

From bed to bed, from one to other border, 
And takes survey, with curious busy eye, 

Of every flower and herb there set in order : 
Now this, now that, he tasteth tenderly, 

Tet none of them he rudely doth disorder, 
Nor with his feet their silken leaves deface, 
But feeds upon the pleasures of each place ; 
And ever more, with most variety 

And change of sweetness (for all change is sweet), 
He seeks his dainty sense to gratify ; 

Now sucking of the juice of herbs most meet, 



A NEW POETICAL ANTHOLOGY. 101 

BUTTERFLY {continued). 

Or of tlie dew winch yet on them doth lie, 

Now in the same bathing his tender feet ; 
And then he percheth on some bank thereby 
To sun himself and his moist wings to dry. 

Spenser. 

Child of the sun! pursue thy rapturous flight, 
Mingling with her thou lovest in fields of light, 
And where the flowers of Paradise unfold, 
Quaff fragrant nectar from their cups of gold : 
There shall thy wings, rich as an evening sky, 
Expand and shut with silent ecstasy. — Rogers. 

Stay near me, do not take thy flight ! 
A little longer stay in sight ! 
Much converse do I find in thee, 
Historian of my infancy ! 
Moat near me ; do not yet depart ! 

Dead times revive in thee : 
Thou bring'st, gay creature as thou art ! 
A solemn image to my heart, 

My father's family ! — Wordsworth. 

CHARITY. 

Fairest and foremost of the train that wait 
On man's most dignified and happiest state, 
"Whether we name thee Charity or Love, 
Chief grace below, and all in all above, 
Prosper (I press thee with a powerful plea) 
A task I venture on, impelled by thee : 
O never seen but in thy blest effects, 
Or felt but in the soul that heaven selects. 

Cowper. 

CHILDREN.— CHILDHOOD. 

Go, mark the matchless workings of the power 
That shuts within the seed the future flower ; 
Bids these in elegance of form excel, 
In colour these, and these delight the smell ; 



102 A HANDBOOK OF POETRY. 

CHILDREN {continued). 

Sends nature forth, the daughter of the skies, 
To dance on earth, and charm all human eyes. 

Cowper. 



'Tis now the poetry of life to thee ; 
With fancies fresh and innocent as flowers, 
And manners sportive as the free-winged air ; 
Thou seest a friend in every smile ; thy days, 
Like singing birds, in gladness dance along, 
And not a tear that trembles on thy lids 
But shines away, and sparkles into joy. 

Robert Montgomery. 



The wilding rose, sweet as thyself, 

And new- cropped daisies, are thy treasure ; 

I'd gladly part with worldly pelf, 

To taste again thy youthful pleasure ! 

Joanna Baillie. 



Those joys which Childhood calls its own, 

Would they were kin to men ! 
Those treasures to the world unknown, 

When known, are withered then. — John Clare. 



Flowers are colouring the wild wood, 
Art thou weary of thy childhood ? 
Break not its enchanted reign, — 
Such life never knows again. 

L. E. L. (Mrs. Maclean.) 



A simple child, 
That lightly draws its breath, 
And feels its life in every limb, 
What should it know of death ? 

Wordsworth. 



A NEW POETICAL ANTHOLOGY. 103 

CHILDREN {continued). 

In my poor mind it is most sweet to muse 

Upon the days gone by ; to act in thought 

Past seasons o'er, and be again a child ; 

To sit in fancy on the tnrf-clad slope, 

Down which the child would roll; to pluck gay 

flowers, 
Make posies in the sun, which the child's hand 
(Childhood offended soon, soon reconciled) 
"Would throw away, and straight take up again, 
Then fling it to the winds, and o'er the lawn 
Bound with so playful and so light a foot, 
That the pressed daisy scarce declined her head. 

Charles Lamb. 

CLOUD.— CLOUDS. 

painted clouds ! sweet beauties of the sky, 

How have I viewed your motion and your rest. 
When like fleet hunters ye have left mine eye, 

In your thin gauze of woolly-fleecing drest ; 
Or in your threatened thunder's grave black vest, 

Like black deep waters slowly moving by, 
Awfully striking the spectator's breast 

With your Creator's dread sublimity. 

John Clare. 

Beautiful clouds ! I have watched ye long, 

Fickle and bright as a fairy throng ; 

Now ye have gathered golden beams 

Now ye are parting in silver streams, 

Now ye are tinged with a roseate blush, 

Deepening fast to a crimson flush ; 

Now, like aerial sprites at play, 

Ye are lightly dancing another way ; 

Melting in many a pearly flake, 

Like the cygnets down on the azure lake. 

Eliza Cook. 

The lowering clouds, that dip themselves in rain, 
To shake their fleeces on the earth again. — Dryden. 



104 A HANDBOOK OF POETRY. 

CLOUDS (continued). 
When on their march embattled clouds appear, 
What formidable gloom their faces wear ; 
How wide their front — how deep and black their rear ! 
How do their threatening heads each other throng — ■ 
How slow the crowding legions move along ! 
The winds with all their wings can scarcely bear 
Th' oppressive burden of th' impending war. 

Sir Richard Blackmore. 



Beautiful cloud ! with folds so soft and fair, 

Swimming in the pure quiet air ! 

Thy fleeces bathed in sunlight, while below 

Thy shadow o'er the vale moves slow ; 

Where, midst their labour, pause the reaper train 

As cool it comes along the grain. 

Beautiful cloud ! I would I were with thee 

In thy calm way o'er land and sea : 

To rest on thy unrolling skirts, and look 

On earth as on an open book. — Bryant. 



DAISY.— WILDFLOWEBS. 

Small service is true service while it lasts, 

Of friends, however humble, scorn not one ; 
The daisy, by the shadow that it casts, 
Protects the lingering dewdrop from the sun. 

Wordsworth. 

The daisy scattered on each mead and down, 
A golden tuft within a silver crown — 
Fair fall that dainty flower ; and may there be 
"No shepherd graced that doth not honour thee ! 

William Browne. 

I see thee glittering from afar — 
And then thou art a pretty star ; 
Not quite so fair as many are 

In heaven above thee ! 



A NEW POETICAL ANTHOLOGY. 1 05 

DAISY (continued). 

Yet like a star, with glittering crest, 
Self-poised in air thou seem'st to rest ; 
May peace come never to his nest 

Who shall reprove thee. 

WORDSWORTH. 

Daisies, ye flowers of lovely birth, 
Embroiderers of the carpet earth, 

That stud the velvet sod ; 
Open to spring's refreshing air, 
In sweetest smiling bloom declare 

Your Maker, and my God. 

John Clare. 

Wee, modest, crimson-tipped flower, 
Thou'st met me in an evil hour, 
For I maun crush among the stoure 

Thy slender stem ; 
To spare thee now is past my power, 

Thou bonny gem. — Burns. 

Be violets in their scented mews 

The flowers the wanton zephyrs choose ; 

Proud be the rose, with rains and dews 

Her head impearling ; 
Thou liv'st with less ambitious aim, 
Yet hast not gone without thy fame ; 
Thou art, indeed, by many a claim 

The poet's darling. 

Wordsworth. 

BANGING. 

Muse of the many twinkling feet ! whose charms 
Are now extended up from legs to arms ; 
Terpsichore ! too long misdeemed a maid, 
Eeproachful term bestowed but to upbraid, 
Henceforth in all the bronze of brightness shine, 
The least a vestal ol the virgin nine. — Byron. 



103 A HANDBOOK OF POETRY. 

DANCING {continued.) 

But when the music's full iufectiou stole 

Throughout her frame, and kindled up her veins, 
She shook her curls, and through her eyes her soul 

Sent such a shower of rapture, all the swains 

Stood gaping as the parched flower when it rains ; 
She sailed along, and, like a sorceress, flung 

Her own sweet spirit o'er the crouder's strains ; 
Her feet had language, such as hath been sung, 
That spoke to every heart as plain as with a tongue. 

Allan Cunningham. 

Dance, dance, as long as ye can ; 
We must travel through life, but why make a dead 
march of it ? 
The fine linen of state may sit well upon man, 
But 'tis pleasant, methinks, just to rub out the starch 
of it. 

Eliza Cook. 

Diana's queen-like step is thine, 
And when in dance thy feet combine 

They fall with truth so sweet, 
The music seems to come from thee, 
And all the notes appear to be 

The echoes of thy feet. 

Edward Qulllinan. 



DEATH. 



Death is here, and death is there, 

Death is busy everywhere, 

All around, within, beneath, 

Above is death, and we are death. — Shelley. 



Many are the shapes 
Of Death, and many are the ways that lead 
To his grim cave ; all dismal ! yet to sense 
More terrible at th' entrance than within. — Milton. 



A NEW POETICAL ANTHOLOGY. 107 

DEATH {continued). 

When honour's lost 'tis a relief to die ; 
Death's but a sure retreat from infamy. 

De. Gaeth. 

Tis to the vulgar death too harsh appears ; 
The ill we feel is only in our fears. 
To die is landing on some silent shore, 
Where billows never break, nor tempests roar. 

De. Gaeth. 

The dead are only happy, and the dying : 

The dead are still, and lasting slumbers hold 'em. 

He who is near his death, but turns about, 

Shuffles awhile to make his pillow easy, 

Then slips into his shroud, and rests for ever. — Lee. 

Death to a man in misery is sleep. — Deyden. 

Death shuns the naked throat and proffered breast ; 
He flies when called to be a welcome guest. 

Sie Charles Sebley. 

Cowards die many times before their death ; 
The valiant never taste of death but once. 

Shakspeaee. 

Now is done thy long day's work ; 
Fold thy palms across thy breast, 
Fold thine arms, turn to thy rest. 
Let them rave. 
Shadows of the silver birk 

Sweep the green that folds thy grave. 

Let them rave. — Tennyson. 



Come not, when I am dead, 

To drop thy foolish tears upon my grave, 
To trample round my fallen head, 



108 A HANDBOOK OF POETRY. 

DEATH {continued). 

And vex the unhappy dust thou would' st not save, 
There let the wind sweep, and the plover cry ; 

But thou, go by. — Tennyson. 

Friend to the wretch whom every friend forsakes, 

I woo thee, Death ! Life and its joys 

I leave to those that prize them. 

Hear me, gracious God ! — at thy good time 

Let Death approach ; I reck not, let him but come 

In genuine form, not with thy vengeance armed, 

Too much for man to bear. — Bishop Porteus. 

There is a reaper, whose name is Death, 

And, with his sickle keen, 
He reaps the bearded grain at a breath, 

And the flowers that grow between. 

Longfellow. 



Leaves have their time to fall, 
And flowers to wither at the north wind's breath, 

And stars to set — but all, 
Thou hast all seasons for thine own, Death ! 

Mrs. Hemans. 

Fate! fortune! chance! whose blindness, 

Hostility, or kindness, 
Play such strange freaks with human destinies, 

Contrasting poor and wealthy, 

The life-diseased and healthy, 
The blessed, the cursed, the witless, and the wise, 

Ye have a master — one 

Who mars what ye have done, 
Levelling all that move beneath the sun, — 

Death! — Horace Smith. 

Death and Sleep. 



How wonderful is Death, 
Death and his brother Sleep ! 



A NEW POETICAL ANTHOLOGY. 109 

DEATH {continued). 

One, pale as yonder waning moon, 

With lips of lurid bine ; 

The other rosy as the morn 

When throned on ocean wave, 

It blushes o'er the world : 

Yet both so passing wonderful. — Shelley. 

BREAM.— BREAMS. 

A change came o'er the spirit of my dream. — Byron. 

I had a dream, which was not all a dream. — Byron. 

O spirit-land ! thon land of dreams ! 
A world thou art of mysterious gleams, 
Of startling voices, and sounds at strife, 
A world of the dead in the lines of life. 

Mrs. Hemans. 

Was it the spell of morning dew 
That o'er his lids its influence threw, 
Clearing those earthly mists away, 
That erst like veils before them lay ? 
Whether fair dream or actual sight, 
It was a vision of delight ; 
For free to his charmed eyes were given 
The spirits of the starry heaven. 

L. E. L. (Mrs. Maclean.) 

Murmur soft music to her dreams, 

That pure and unpolluted run, 
Like to the new-born crystal streams 

Under the bright enamoured sun. 

Charles Cotton. 



When the soft hand of sleep had closed the latch 
On the tired household of corporeal sense, 

And Fancy, keeping unreluctant watch, 
Was free her choicest favours to dispense ; 



110 A HANDBOOK OF POETRY. 

DREAMS {continued). 

I saw, in wondrous perspective displayed, 

A landscape more august than happiest skill 
Of pencil ever clothed with light and shade. 

Wordsworth. 



Bright be thy dreams ! may all thy weeping 
Turn into smiles while thou art sleeping ! 

May those by death or seas removed, 
The friends who in thy spring-time knew thee, 

All thou hast ever prized or loved, 
In dreams come smiling to thee ! — T. Moore. 



EVENING.— NIGHT. 

How pleasant, as the sun declines, to view 
The spacious landscape change in form and hue ! 
Here vanish, as in mist, before a flood 
Of bright obscurity, hill, lawn, and wood ; 
There objects, by the searching beam betrayed, 
Come forth, and here retire in purple shade ; 
Even the white stems of birch, the cottage white, 
Soften their glare before the mellow light. 

Wordsworth. 



Now in the sleepy gloom that blackens round, 
Dies many a lulling hum of rural sound, 
From cottage door, farmyard, and dusty lane, 
Where home the cart-horse totters with the swain, 
Or padded holm, where village boys resort, 
Bawling enraptured o'er their evening sport, 
Till night awakens superstitious dread, 
And drives them prisoners to a restless bed. 

John Clare. 



The western sun now shot a feeble ray, 

And faintly scattered the remains of day. — Addison. 



A NEW POETICAL ANTHOLOGY. Ill 

EVENING (continued). 

Now came still evening on, and twilight grey 
Had in her sober livery all things clad. — Milton. 

'Tis now the young decline of day ; 
The light is lingering in the sky, 
Fading unconsciously away, 

Like brightness in a maiden's eye 
That fain would sleep, 
But watch must keep. 

W. T. MoNCRIEFF. 

The day's grown old, the fainting sun 
Has but a little way to run ; 
And yet his steeds, with all his skill, 
Scarce lug the chariot down the hill. 

Charles Cotton. 

It is the hour when from the boughs 
The nightingale's high note is heard ; ' 

It is the hour when lovers' vows 

Seem sweet in every whispered word ; 

And gentle winds, and waters near, 

Make music to the lonely ear. 

Each flower the dews have lightly wet, 

And in the sky the stars are met, 

And on the wave is deeper blue, 

And on the leaf a browner hue, 

And in the heaven that clear obscure, 

So softly dark, and darkly pure, 

"Which follows the decline of day, 

As twilight melts beneath the moon away. — Bthon. 

The sun is set ; the swallows are asleep ; 

The bats are flitting fast in the grey air ; 
The slow soft toads out of damp corners creep ; 

And evening's breath, wandering here and there 
Over the quivering surface of the stream, 
Makes not one ripple from its summer dream. 

Shelley. 



112 A HANDBOOK OF POETRY. 

EYE.— EYES. 

Eyes not down-dropt, nor over-bright, but fed 
With the clear-painted flame of chastity ; 
Clear without heat, undying, tended by 
Pure vestal thoughts in the translucent fane 
Of her still spirit. — Tennyson. 



Where now are those dark eyes? (sweet eyes !) 

In tears ? in thought ? in sleep ? 
Those lights, like stars in stormy skies, 

Which gently shine, when all else weep ? 
dark unconquerable eyes ! — Barry Cornwall. 



As a wild maiden, with love-drinking eyes, 
Sees in sweet dreams a beaming youth of glory. 

Alexander Smith. 



How beautiful to worship woman's eyes, 
As stars of heaven formed, man's guiding light, 
But to be gazed on as celestial bright ; 
To deem them as the jewels of the skies ; 
The blue, day's sapphires — black, the gems of night ! 

W. T. Monceieff. 



The orb I like is not the one 

That dazzles with its lightning gleam ; 
That dares to look upon the sun, 

As though it challenged brighter beam. 
That orb may sparkle, flash, and roll ; 

Its fire may blaze, its shaft may fly ; 
But not for me. I prize the soul 

That slumbers in a quiet eye. — Eliza Cook. 

Oh, do not wanton with those eyes, 

Lest I be sick with seeing ; 
Nov cast them down, but let them rise, 

Lest shame destroy their being. 



A NEW POETICAL ANTHOLOGY. 113 

EYE {continued). 

Oh, be not angry with those fires, 

For then their threats will kill me ; 
Nor look too kind on my desires, 

For then my hopes will spill me. 

Oh, do not steep them in thy tears, 

For so will sorrow slay me ; 
Nor spread them as distract with fears ; 

Mine own enough betray me. — Ben Jonson. 

Throne of expression ! whence the" spirit's ray 
Pours forth so oft the light of mental day ; 
"Where fancy's fire, affection's melting beam, 
Thought, genius, passion, reign in turn supreme. 

Mrs. Hemans. 

Lesbia hath a beaming eye, 

But no one knows for whom it beameth ; 
Eight and left its arrows fly, 

But what they aim at no one dreameth. 

T. Moobe. 

FAITH. 

Thou surely dost not think my faith a flower 
To live and droop with fortune's sun and shade ? 

Douglas Jebeolp. 

I have seen 
A curious child, who dwelt upon a tract 
Of inland ground, applying to his ear 
The convolutions of a smooth-lipped shell.; 
To which, in sileuce hushed, his very soul 
Listened intensely ; and his countenance soon 
Brightened with joy; for murmurings from within 
Were heard, sonorous cadences ! whereby, 
To his belief, the monitor expressed 
Mysterious union with its native sea. 
Even such a shell, the universe itself 
Is to the ear of Faith ! — Wobdswobth. 



114 A HANDBOOK OF POETRY. 

FAIRIES. 

I know a bank whereon the wild thyme "blows, 
"Where oxlips and the nodding violet grows ; 
Qnite over-canopied with lush woodbine, 
With sweet musk roses and with eglantine ; 
There sleeps Titania, sometime of the night, 
Lulled in these flowers with dances and delight. 

Shakspeare. 



Hither, ye elves ! the sunbeam fainter glows, 
And the loved twilight gathers with its gloom : 
Fly from the grassy mount's untrodden brow, 
Drop from the scented blossoms of the bough. 

John Graham. 

And nightly, meadow-fairies, look you, sing 
Like to the garter's compass, in a ring ; 
The expressure that it bears, green let it be, 
More fertile-fresh than all the field to see ; 
And, Horn soit qui mal y pense, write 
In emerald tufts, flowers purple, blue, and white ; 
Like sapphire, pearl, and rich embroidery, 
Buckled below fair knighthood's bending knee : 
Fairies use flowers for their charactery. 

Shakspeare. 



Bright children of the bard ! o'er this green dell 
Pass once again, and light it with your spell. 

Mrs. Hemaxs. 

I speak of ancient times, for now the swain 
Returning late may pass the woods in vain, 
And never hope to see the nightly train. 
In vain the dairy now with mints is dressed, 
The dairymaid expects no fairy guest 
To skim the bowls, and after pay the feast. 
She sighs, and shakes her empty shoes in vain, 
No silver penny to reward her pain : 



A NEW POETICAL ANTHOLOGY. 115 

FAIRIES (continued). 

For priests, with prayers and other godly gear, 
Have made the merry goblins disappear. 

Dryden. 



Where the bee sucks, there lurk I, 

In a cowslip's bell I lie; 

There I conch when owls do cry, 

On the bat's back I do fly, 

After sunset merrily : 
Merrily, merrily shall I live now, 
Under the blossom that hangs on the bough. 

Sbakspeare. 



Over hill, over dale, 

Thorough bush, thorough brier, 
Over park, over pale, 

Thorough flood, thorough fire ; 
I do wander everywhere, 
Swifter than the moon's sphere ; 
And I serve the fairy queen, 
To dew her orbs upon the green ; 

The cowslips tall her pensioners be, 

In their gold cups spots you see : 

These be rubies, fairy favours, 

In those freckles live their savours. 
I must go seek some dewdrops here, 
And hang a pearl in every cowslip's ear. 
Farewell, thou lob of spirits, I'll be gone ; 
Our queen and all her elves come here anon. 

Sbakspeare. 



While the blue is richest in the starry sky, 
While the softest shadows on the greensward lie, 
While the moonlight slumbers in the lily's urn, 
Bright elves of the wild wood ! oh, return, return ! 

Mrs. Hemans. 
i 2 



116 A HANDBOOK OF POETRY. 

FAIRIES (continued). 

!Nor think, tho' men were none, 
That heaven would want spectators, God want praise ; 
Millions of spiritual creatures walk the earth 
Unseen, both when we wake and when we sleep. 

Milton. 

If e'er one vision touched thy infant thought, 

Of all the nurse and all the priest hath taught 

Of airy elves by moonlight shadows seen, 

The silver token, and the circled green, 

Or virgins visited by angel-powers, 

With golden crowns, and wreaths of heavenly flowers, — 

Hear, and believe ! — Pope. 

Oh ! these be fancy's revellers by night, 
Stealthy companions of the downy moth; 

Diana's motes, that flit in her pale light, 
Shunners of sunbeams in diurnal sloth ; 

The gnat, with shrilly trump, is their convener, 
Forth from their flowr'y chambers, nothing loth, 

With lulling tunes to charm the air serener, 

Or dance upon the grass to make it greener. 

Thomas Hood. 

Like fairy elves 
Whose midnight revels, by a forest side, 
Or fountain, some belated peasant sees, 
Or dreams he sees, while overhead the moon 
Sits arbitress, and nearer to the earth 
Wheels her pale cause; they, on their mirth and dance 
Intent, with jocund music charm his ear. — Milton. 

They dance their ringlets to the whistling wind ; 
The honey-bags steal from the humble-bees, 
And for night- tapers crop their waxen thighs, 
And light them at the fiery glowworm's eyes ; 
And pluck the wings from painted butterflies, 
To fan the moonbeams from their sleeping eyes. 

Shakspeare. 



A NEW POETICAL ANTHOLOGY. 117 

FAIRIES {continued). 

They were such forms as, imaged in the night, 

Sail in our dreams across the heavens' steep blue ; 

When the closed lid sees visions streaming bright, 
Too beautiful to meet the naked view ; 

Like faces formed in clouds of silver light. 

Thomas Millee. 

We the fairies, blithe and antic, 
Of dimensions not gigantic, 
Through the moonshine mostly keep us, 
Oft in orchards frisk and peep us. 

Leigh Hunt {from the Latin). 

What feats the fairy creatures played ! 

Now seeming of the height afraid, 

Now folding the moss in fast embraces, 

They peeped o'er the bridge with their lovely faces. 

Now hanging, like the fearless flowers, 

By their tiny arms in the cataract showers, 

Swung back and forward with delight, 

Like pearls in the spray-shower burning bright ! 

Professor Wilson 

The beings of the mind are not of clay : 
Essentially immortal, they create 

And multiply in us a brighter ray, 

And more beloved existence ; that which fate 
Prohibits to dull life in this our state 
Of mortal bondage. — Byhon. 

FAME. 

Of all the phantoms fleeting in the mist 

Of time, though meagre all, and ghostly thin, 

Most unsubstantial, unessential shade, 

Was earthly fame. She was a voice alone, 

And dwelt upon the noisy tongues of men. 

She never thought, but gabbled ever on, 

Applauding most what least deserved applause. 

Pollok. 



118 A HANDBOOK OF POETRY. 

FAME {continued). 

Fame ! the loose breathings of a clamorous crowd, 
Ever in lies most confident and loud. 

Earl of Bochester. 

While fame is young, too weak to fly away, 
Envy pursues her like some bird of prey ; 
But once on wing, then all the dangers cease, 
Envy herself is glad to be at peace. 

Duke oe Buckingham. 

Ah ! who can tell how hard it is to climb 

The steep where Fame's proud temple shines afar ; 

Ah ! who can tell how many a soul sublime 
Has felt the influence of malignant star, 
And waged with fortune an unequal war ; 

Checked by the scoff of pride, by envy's frown, 
And poverty's unconquerable bar, 

In life's low vale remote has pined alone, 

Then dropped into the grave, un pitied and unknown! 

Beattie. 

Fame's an echo, prattling double, 

An empty, airy, glittering bubble ; 

A breath can swell, a breath can sink it, 

The wise not worth their keeping think it. 

"Why, then, why such toil and pain, 

Fame's uncertain smiles to gain ? 

Like her sister Fortune blind, 

To the best she's oft unkind, 

And the worst her favour find. — Milton. 

Thou hast a charmed cup, Fame ! 

A draught that mantles high, 
And seems to lift this earthly frame 

Above mortality. 
Away ! to me — a woman — bring 
Sweet waters from affection's spring. 

Mrs. Hehans. 



A NEW POETICAL ANTHOLOGY. 119 

FISHING. 

There bent in hopeful musings on the brink, 
They watch their floating corks that seldom sink, 
Save when a wary roach or silver bream 
Nibbles the worm in passing np the stream, 
Just urging expectation's hopes to stay 
To view the dodging cork, then slink away ; 
Still hopes keep burning with untired delight, 
Still wobbling curves keep wavering like a bite : 
If but the breezy wind their floats should spring, 
And move the water with a troubled ring, 
A captive fish still fills the anxious eyes, 
And willow- wicks lie ready for the prize ; 
Till evening gales awaken damp and chill, 
And nip the hopes that morning suns instil. 

John Claee. 

While flowing rivers yield a blameless sport, 
Shall live thy name, meek Walton, sage benign ! 
Whose pen, the mysteries of the rod and Hue 
Unfolding, did not fruitlessly exhort 
To reverend watching of each still report 
That Nature utters from her rural shrine. 

WoEDSWOETH. 

FLOWERS. 

In all places, then, and in all seasons, 

Flowers expand their light and soul -like wings, 

Teaching us, by most persuasive reasons, 
How akin they are to human things. 

Longfellow. 

Your voiceless lips, O Flowers ! are living preachers, 

Each cup a pulpit, every leaf a book, 
Supplying to my fancy numerous teachers 

From loneliest nook. — Hoeace Smith. 

Not a flower 
But shows some touch, in freckle, streak, or stain, 
Of His unrivalled pencil. He inspires 
Their balmy odours, and imparts their hues, 



120 A HANDBOOK OF POETRY. 

FLOWERS {continued). 

And bathes their eyes with nectar, and includes, 
In grains as countless as the sea-side sands, 
The forms with which he sprinkles all the earth. 

Cowper. 

There is a lesson in each flower, 
A story in each stream and bower ; 
In every herb on which we tread 
Are written words which, rightly read, 
Will lead yon from earth's fragrant sod 
To hope, and holiness, and God. 

Allan Cunningham. 

God made the flowers to beautify 

The earth, and cheer man's careful mood; 
And he is happiest who hath the power 
To gather wisdom from a flower, 
And wake his heart in every hour 

To pleasant gratitude. — Wordsworth. 

Sweet nurslings of the vernal skies, 

Bathed in soft airs and fed with dew, 
What more than magic in you lies 

To fill the heart's fond view ! 
Eelics are ye of Eden's bowers, 

As soft, as fragrant, and as fair 
As those that crowned the sunshine hours 

Of happy wanderers there. — Keeble. 

Flowers are the brightest things which earth, 
On her broad bosom, loves to cherish ; 

Gay they appear as children's mirth, 
Like fading dreams of hope they perish. 

Patterson. 

Flowers are the bright remembrances of youth : 
They waft us back, with their bland odorous breath, 
The joyous hours that only young life knows, 
Ere we have learnt that this fair earth hides graves. 
Countess or Blessington. 



A NEW POETICAL ANTHOLOGY. 121 

FLOWERS {continued). 

Bring flowers, young flowers, for the festal board, 

To wreath the cup ere the wine is poured : 

Bring flowers ! they are springing in wood and vale, 

Their breath floats out on the southern gale, 

And the touch of the sunbeam hath waked the rose, 

To deck the hall where the bright wine flows. 

Mrs. Hemans. 

Still, gentle lady, cherish flowers ; 

True fairy friends are they, 
On whom of all the cloudless hours 

Not one is thrown away. 
By these, unlike man's ruder race, 

JSTo care conferred is spurned, 
But all thy fond and fostering grace 

A thousandfold returned. — B. Simmons. 

We are the sweet flowers 

Born of sunny showers, 
Think whene'er you see us what our beauty saith; 

Utterance mute and bright 

Of some unknown delight, 
We fill the air with pleasure by our simple breath. 

All who see us love us ; 

We befit all places ; 
Unto sorrow we give smiles, and unto graces, graces. 

Leigh Hunt. 

Wondrous truths, and manifold as wondrous, 
God hath written in the stars above ; 

But not less in the bright flowerets under us 

Stands the revelation of His love. — Longfellow. 



FRIENDS.— FRIENDSHIP. 

Friend after friend departs : 
Who hath not lost a friend ? 

There is no union here of hearts 
That finds not here an end. 



122 A HANDBOOK OF POETRY. 

FRIENDS {continued). 

Were this frail world our final rest, 
Living or dying none were blest. 

James Montgomery. 

Friendship ! peculiar boon of heaven, 
The noble mind's delight and pride, 

To men and angels only given, 

To all the lower world denied. — Johnson. 

Oh, friendship ! if my soul forego 
Thy dear delight while here below ; 

To mortify and grieve me, 
May I myself at last appear 
Unworthy, base, or insincere, 

Or may my friend deceive me. 

Cowper. 

When will ye think of me, sweet friends ? 

When will ye think of me ? 
When the sudden tears o'erflow your eye 
At the sound of some olden melody ; 
When ye hear the voice of a mountain stream, 
When ye feel the charm of a poet's dream, 

Then let it be ! — Mrs. Hemans. 

There have been fewer friends on earth than kings. 

Cowley. 
Friendship, of itself a holy tie, 
Is made more sacred by adversity. — Dryden. 

The friends thou hast, and their adoption tried, 
Grapple them to thy soul with hoops of steel. 

Shakspeare. 

Who knows the joys of friendship ? 
The trust, security, and mutual tenderness ? 
The double joys, when each is glad for both ? 
Friendship ! our only wealth, our last retreat and 

strength, 
Secure again still fortune and the world. — Eowe. 



A NEW POETICAL ANTHOLOGY. 123 

GOLD. 

All that glisters is not gold, 

Often have yon heard that told ; 

Many a man his life hath sold 

But my ontside to behold ; 

Gilded tombs do worms infold. — Shakspeaee. 



Gold! gold! gold! gold! 
Bright and yellow, hard and cold, 
Molten, graven, hammered, and rolled ; 
Heavy to get and light to hold ; 
Hoarded, bartered, squandered, doled : 
Spumed by the young, but hugged by the old, 
To the very verge of the churchyard mould. 

Gold ! gold ! gold ! gold ! 
Good or bad a thousandfold ; 

How widely its agencies vary ! 
To save — to ruin — to curse— -to bless — 
As even its minted coins express, 
!N"ow stamped with the image of good Queen Bess, 

And now of a bloody Mary. — Thomas Hood. 



gold ! why call we misers miserable ? 

Theirs is the pleasure that can never pall ; 
Theirs is the best bower anchor, the chain cable 

Which holds fast other treasures great and small. 

Byeox. 



Mine is the rare magician's hand; 
Mine is the mighty fairy wand ; 
Monarchs may boast, but none can hold 
Such powerful sway as the spirit of gold. 
The wigwam tent, the regal dome, 
The senator's bench, the peasant home ; 
The menial serf, the pirate bold, — 
All, all are ruled by the spirit of gold. 

Eliza Cooj 



124 A HANDBOOK OF POETRY. 

GIRDLE. 

That which her slender waist confined 

Shall now my joyful temples bind. 

No monarch but would give his crown, 

His arms may do what this has done. 

My joy, my grief, my hope, my love, 

Did all within this circle move. 

A narrow compass ! and yet there 

Dwelt all that's good, and all that's fair. 

Give me but what this ribband bound, 

Tate all the rest the sun goes round. — Waller. 

And I would be the girdle 

About her dainty waist, 
And her heart would beat against me 

In sorrow and in rest ; 
And I should know if it beat right, 
I'd clasp it round so close and tight. 

Tennyson. 

GOOD NIGHT. 

To all, to each, a fair good night, 

And pleasing dreams, and slumbers light ! 

Scott. 

Good night ! good night, beloved ! 

I come to watch o'er thee. 
To be near thee — to be near thee, 

Alone is peace to me. 
Thine eyes are stars of morning, 

Thy hps are crimson flowers ! 
Good night ! good night, beloved ! 

While J count the weary hours. 

LONGPELLOW. 

With thee, my bark, I'll swiftly go 

Athwart the foaming brine, 
Nor care what land thou bear'st me to, 

So not again to mine. 



A NEW POETICAL ANTHOLOGY. 125 

GOOD NIGHT {continued). 

"Welcome, welcome, ye dark-blue waves ! 

And when you fail my sight, 
Welcome, ye deserts, and ye caves ! 

My native land — good night ! — Byron. 

Go to rest ! 
Sleep sit dove-like on thy breast ! 
If within that secret cell 
One dark form of memory dwell, 
Be it mantled from thy sight — 

Good night ! — Mrs. Hemans. 

Good night, my love ! may gentle rest 
Charm up your senses till the light, 
Whilst I, with care and woe oppressed, 
Go to inhabit endless night. 

Charles Cotton. 
HOME. 

Man, through all ages of revolving time, 
Unchanging man, in every varying clime, 
Deems his own land of every land the pride, 
Beloved by heaven o'er all the world beside ; 
His home the spot of earth supremely blest, 
A dearer, sweeter spot than all the rest, 

James Montgomery. 

There's a magical tie to the land of our home, 
Which the heart cannot break, though the footsteps 

may roam ; 
Be that land where it may, at the line or the pole, 
It still holds the magnet that draws back the soul. 

Eliza Cook. 
.is none 

Why t^ r 

rp ij. -j beloved ! come home ! The hour 
F» Of many a greeting tone, 
The time of hearth-light and of song 
Returns and ye are gone ! 



126 A HANDBOOK OF POETRY. 

HOME {continued). 

And darkly, heavily it falls 

On the forsaken room, 
Burdening the heart with tenderness, 

That deepens 'midst the gloom. 

Mrs. Hemans. 

'Mid pleasure and palaces though we may roam, 
Be it ever so humble there's no place like home ! 
A charm from the skies seems to hallow us there, 
Which, seek through the world, is ne'er met with 
elsewhere. 

Home ! home ! sweet home ! 

J. Howard Payne. 

HOPE.— HOPES. 

Sun of another world, whose rays 

At distance gladden ours ; 
Soul of a happier sphere, whose praise 

Surpasses mortal powers ; 
Mysterious feeling, taught to roll 

Eesistless o'er each breast, 
Beyond embrace, above control, 
The strangest, sweetest of the soul, 

Possessing, not possest. — Henry Neele. 

The wretch condemned with life to part, 

Still, still on hope relies ; 
And every pang that rends his heart 

Bids expectation rise. 
Hope, like the glimmering taper's light, 

Adorns and cheers the way ; 
And still, as darker grows the ni*" 

Emits a brighter ray. — G f 

There is a star that cheers our way 

Along this weary world of woe, 
That tips with light the waves of life, 

However bitterly they flow. 



A NEW POETICAL ANTHOLOGY. 129 

KNOWLEDGE AND WISDOM [continued). 

The mere materials which wisdom builds, 
Till smoothed, and squared, and fitted into place, 
Does but encumber what it seems to enrich. 
Knowledge is proud that he has learned so much, — 
Wisdom is humble that he knows no more. — Cowpeb. 



A climbing height it is, without a head, 
Deep without bottom, way without an end ; 
A circle with no line environed, 
Not comprehended, all it comprehends ; 
"Worth infinite, yet satisfies no mind 
Till it that infinite of the Godhead find. 

Sm Fulke Greville. 

LOVK 

Love in your sunny eyes does basking play ; 

Love walks the pleasant mazes of your hair ; 
Love does on both your lips for ever stray, 

And sows and reaps a thousand kisses there. 

Cowley. 

There's music in the name, 
That, softening me to infant tenderness, 
Makes my heart spring like the first leaps of life. 

Otway. 



My love's so true, 
That I Ph neither hide it where it is, 
m Nor. dre ^7 it where 'tis not. — Dryden. 

,n hor 
is none 

To spe n ' crcmcn no m ore on suppliant knee, 
That ^^ scorn ^th scorn outbrave; 
f. Briton, even in love, should be 
A subject, not a slave !— Wordsworth. 

K 



130 A HANDBOOK OF POETRY. 

LOVE {continued). 

Thou art the victor, Love ! 
Thou art the peerless, the crowned, the free ; 
The strength of the battle is given to thee, 
The spirit from above. 
Thon has looked on death and smiled ! 
Thou hast buoyed up the fragile and reed-like form 
Through the tide of the fight, through the rush of the 
storm, 
On field, and flood, and wild. — Mrs. Hemans. 

In love, what contradiction lies ; 

Love's all made up of joy and sorrow ; 
His April face, of smiles and sighs, 

Will laugh to-day and weep to-morrow. 

W. T. MONCRIEEF. 

Love in a hut, with water and a crust, 

Is — Love forgive us ! — cinders, ashes, dust ; 

Love in a palace is, perhaps, at last 

More grievous torment than a hermit's fast. — Keats. 

Yes, love indeed is light from heaven ; 

A spark of that immortal fire 
With angels shared, by Allah given, 

To lift from earth our low desire. 
Devotion wafts the mind above, 
But heaven itself descends in love : 
A feeling from the Godhead caught, 
To wean from self each sordid thought : 
A ray of Him who formed the whole ; 
A glory circling round the soul.- Bybxxn". 

Man's love is of man's life a thing < 
'Tis woman's whole existence. — Bye 

O sovereign power of love ! grief ! L 
All records saving thine come cool, and 
And shadowy through the mist of passec 
For others, good or bad, hatred and tears 



A NEW POETICAL ANTHOLOGY. 131 

LOVE (continued). 

Have become indolent ; but touching thine, 
One sigh doth echo, one poor sob doth pine, 
One kiss brings honey-dew from buried days. 

Keats. 

In peace, love tunes the shepherd's reed ; 
In war he mounts the warrior's steed ; 
In halls in gay attire is seen ; 
In hamlets dances on the green. 
And men below, and saints above, — 
For love is heaven, and heaven is love. 

Scott. 



By love, only love, should our souls be cemented, 
No interest, no motive, but that I would own ; 

With her in a cottage be blest and contented, 

And wretched without her, though placed on a 
throne. Bickerstaef. 



Love is a smoke, made with the fume of sighs ; 
Being puffed, a fire sparkling in lovers' eyes ; 
Being vexed, a sea nourished with lovers' tears : 
What is it else ? a madness most discreet, 
A choking gall, and a preserving sweet. 

Shakspeare. 

The cause of love can never be assigned ; 

'Tis in no face, but in the lover's mind. — Dryden. 

Yes, love ! deceive thyself no longer ! False 
To say 'tis pity for his fall, — respect 
Engendered by a hollow world's disdain, 
Which hoots whom fickle fortune cheers no more : 
'Tis none of these ! 'Tis love — and if not love, 
Why then idolatry ! Ay, that's the name 
To speak the broadest, deepest, strongest passion 
That ever woman's heart was borne away by. 

Sheridax Kjtowles. 
k 2 



132 A HANDBOOK OF POETRY. 

LOVE [continued). 

If on your charms yon think to lay 

The value that's their dne, 
Kings are themselves too poor to pay, 

Their subjects all too few. 
But if a passion without vice, 

Without disguise or art, — 
Mary, if true love's your price, 

Behold it in my heart ! — Lord Lansdowe. 



Love is a sea 
Tilling all the abysses dim 
Of lornest space, in whose deeps regally 
Swans and their bright broods swim. 

Alexander Smith. 

MAN. 

Like leaves on trees the race of man is found, 

Now green in youth, now withering on the ground ; 

Another race the following spring supplies ; 

They fall successive, and successive rise ; 

So generations in their course decay ; 

So flourish these when those are passed away. 

Pope. 



Men are but children of a larger growth ; 
Our appetites as apt to change as theirs, 
And full as craving, too, and full as vain : 
And yet the soul, shut up in her dark room, 
Viewing so clear abroad, at home sees nothing ; 
But, like a mole in earth, busy and blind, 
Works all her folly up, and casts it outward 
To the world's open view. — Dryden. 



Man is the sun of home, 

He shines — and all is bright ! 

And lovely woman is the moon 
Made brilliant by his light. 



A NEW POETICAL ANTHOLOGY. 133 

MAN {continued). 

But if, from hut or hall, 

The suu withdraws his ray, 
The pale moon wanes, and soon 

Her brilliance dies away. 

Charles Cole. 

MARRIAGE. 

To the nuptial bower 
I led her, blushing as the morn ; all heaven 
And happy constellations on that hour 
Shed their selectest influence. The earth 
Gave signs of gratulation, and each hill : 
Joyous the birds. Fresh gales and gentle airs 
Whispered it to the woods ; and from their wings 
Flung rose, flung odours from the spicy shrub ; 
Disporting till the amorous bird of night 
Sung spousal, and bid haste the evening star 
On his hill- top to light the bridal lamp. — Milton. 

Wedding is great Juno's crown ; 

blessed bond of board and bed ! 
'Tis Hymen peoples every town ! 

High wedlock then be honoured : 
Honour, high honour and renown, 
To Hymen, god of every town. — Shakspeare. 

Be gay and good-natured, complying and kind, 
Turn the chief of your care from your face to your 

mind; 
'Tis thus that a wife may her conquests improve, 
And marriage shall rivet the fetters of love. 

David Garrick. 



MAY. 



For thee, sweet month, the groves green liveries wear, 
If not the first, the fairest of the year ; 
For thee the Graces lead the dancing Hours, 
And Nature's ready pencil paints the flowers ; 



134 A HANDBOOK OF POETRY. 

MAY (continued). 

When thy short reign is past, the feverish sun 
The sultry tropic fears, and moves more slowly on. 

Dryden. 

I feel a newer life in every gale ; 

The winds that fan the flowers, 
And with their welcome breathings fill the sail, 

Tell of serener hours — 
Of hours that glide unfelt away 
Beneath the sky of May. — Percival. 

Now the bright morning star, day's harbinger, 
Comes dancing from the east, and leads with her 
The flow'ry May, who from her green lap throws 
The yellow cowslip and the pale primrose. 
Hail, bounteous May ! that dost inspire 
Mirth, and youth, and warm desire ; 
"Woods and groves are of thy dressing, 
Hill and dale doth boast thy blessing. 
Thus we salute thee with our early song, 
And welcome thee, and wish thee long. — Milton. 

Oh ! the merry May has pleasant hours, 

And dreamily they glide, 
As if they floated like the leaves 

Upon a silver tide ; 
The trees are full of crimson buds, 

And the woods are full of birds, 
And the waters flow to music 

Like a tune with pleasant words. — Willis. 

Though many suns have risen and set 

Since thou, blithe May, wert born, 
And bards, who hailed thee, may forget 

Thy gifts, thy beauty scorn ; 
There are who to a birthday strain 

Confine not harp and voice, 
But evermore throughout thy reign 

Are grateful and rejoice. — Wordsworth. 



A NEW POETICAL ANTHOLOGY. 135 

MELANCHOLY. 

Some unborn sorrow, ripe in fortune's womb, 
Now coming towards me, grieves my inmost sonl. 

Shakspeare. 

A sudden damp has seized my spirits, 

And, like a heavy weight, 

Hangs on their active springs. — DeydejS". 

Sure some ill fate's upon me : 
Distrust and heaviness sit round my heart, 
And apprehension shocks my tim'rous soul. 

Otwat. 

Go ! you may call it madness, folly ; 

Y ou shall not chase my gloom away; 
There's such a charm in melancholy, 

I would not, if I could, be gay. — Rogers. 

There is a kind of soothing sorrow 
Which vulgar minds can never know ; 

There is a feeling that can borrow 
Its wildest, sweetest thrill from woe. 

Edward Qtjillinan. 

MEMORY. 

Things which offend when present, and affright, 
In memory, well painted, move delight. — Cowley. 



Remember thee ! 
Yes, from the table of my memory 
I'll wipe away all trivial fond records, 
All saws of books, all forms, all pressures past, 
That youth and observation copied there ; 
And thy commandment all alone shall live 
Within the book and volume of my brain, 
Unmixed with baser matter. — Shakspeare. 



136 A HANDBOOK OF POETRY. 

MEMORY (continued). 

Something like 
That voice methinks I should have somewhere heard, 
But floods and woes have hurried it far off, 
Beyond my ken of soul. — Dryden. 

Thou who stealest fire 
From the fountains of the past 
To glorify the present, oh, haste, 

Yisit my low desire ! 
Strengthen me, enlighten me ! 
I faint in this obscurity, 
Thou dewy dawn of memory ! — Tennyson. 



A boon, a talisman, Memory ! give, 

To shrine my name in hearts where I would live 

For evermore ! 
Bid the wind speak of me where I have dwelt, 
Bid the stream's voice, of all my soul hath felt, 

A thought restore ! Mrs. Hemans 



'Tis strange how much is marked on memory, 
In which we may have interest but no part ; 
How circumstance will bring together links 
In destinies the most dissimilar. 

L. E. L. (Mrs. Maclean.) 

Sweet Memory, wafted by thy gentle gale, 
Oft up the stream of Time I turn my sail, 
To view the fairy haunts of long-lost hours, 
Blest with far greener shades, far fresher flowers. 

Eogers. 

A pen — to register ; a key — 

That winds through secret wards ; 

Are well assigned to Memory 
By allegoric bards. 



A NEW POETICAL ANTHOLOGY. 137 

MEMORY {continued). 

As aptly, also, might be given 

A pencil in her hand ; 
That, softening objects, sometimes even 

Outstrips the heart's demand. 

WoKDSWOETH. 

MERCY. 

The quality of mercy is not strained ; 

It droppeth as the gentle rain from heaven 

Upon the place beneath : it is twice blessed, — 

It blesseth him that gives and him that takes ; 

'Tis mightiest in the mightiest ; it becomes 

The throned monarch better than his crown : 

His sceptre shows the force of temporal power, 

The attribute to awe and majesty, 

Wherein doth sit the dread and fear of kings ; 

But mercy is above the sceptred sway : 

It is enthroned in the hearts of kings ; 

It is an attribute to God himself, 

And earthly power doth then show likest God's 

When mercy seasons justice. Shakspeare. 

Heav'n has but 
Our sorrow for our sins, and their delights, 
To pardon erring man. Sweet mercy seems 
Its darling attribute, which limits justice; 
As if there were degrees in Infinite, 
And Infinite would rather want perfection, 
Than punish to extent. Deyden. 

Sweet mercy is the loveliest flower 
That heav'n e'er planted in the mind, 

The test of virtue, whose soft power 
Can nearer Godhead raise mankind. 

Joseph Eeed. 



MISER. 



Slaves, who ne'er knew mercy ; 

Sour, unrelenting, money -loving villains, 



138 A HANDBOOK OF POETRY. 

MISER {continued). 

Who laugh at human nature and forgiveness, 
And are, like fiends, the factors for destruction. 

Bowe. 

Like a miser 'midst his store, 
Who grasps and grasps till he can hold no more ; 
And when his strength is wanting to his mind, 
Looks back and sighs on what he left behind. 

Dryden. 



MOON. 



As when the moon, refulgent lamp of night, 
O'er heaven's clear azure sheds her sacred light; 
When not a breath disturbs the deep serene, 
Ajid not a cloud o'ercasts the solemn scene ; 
Around her throne the vivid planets roll, 
And stars unnumbered gild the glowing pole ; 
O'er the dark trees a yellower verdure shed, 
And tip with silver every mountain's head ; 
Then shine the vales, the rocks in prospect rise, 
A flood of glory bursts from all the skies : 
The conscious swains, rejoicing in the sight, 
Eye the blue vault, and bless the useful light. " 

Pope. 

The moon, 
Rising in clouded majesty, at length 

Unveiled with peerless light ; 
She o'er the dark her silver mantle threw, 
And in her pale dominion checked the night. 

Milton, 

The moon is up ! How calm and still 

She wheels above the hill ! 
The weary winds forget to blow, 

And all the world lies still. — Peabody. 

And like a dying lady, lean and pale, 
Who totters forth, wrapt in a gauzy veil, 



A NEW POETICAL ANTHOLOGY. 139 

MOON {continued.) 

Out of her chamber, led by the insane 
And feeble wanderings of her fading brain, 
The moon arose npon the murky earth, 
A white and shapeless mass. — Shelley. 

The rising moon has hid the stars ; 

Her level rays, like golden bars, 
Lie on the landscape green, 
With shadows brown between. 

And silver white the river gleams, 

As if Diana, in her dreams, 
Had dropt her silver bow 
Upon the meadows low. — Loxgeellow. 

Sorrowful moon ! seeming so drowned in woe, — ■ 
A queen, whom some grand battle-day has left 
Unkingdomed and a widow, while the stars, 
Thy handmaidens, are standing back in awe, 
Gazing in silence on thy mighty grief. 

Alexander Smith. 
MOUNTAIN. 

Behold yon mountain ! hoary son of time, 
Elder than poesy ! above the vale 
He frowneth, vast and horrid. In his clefts 
The humble flow'ret blooms, and stunted trees 
Twist on his crags. Around his gloomy sides, 
Against his rugged head, the dashed clouds break ; 
Far off day crowns him with a gloom like night. 
What though th' ascent is steep and rude the way ? 
Let us ascend the summit, and look down — 
Around — above ! to Him whose home is thought. 

Ebenezer Elliot. 

In the calm darkness of the moonless night, 

In the lone glare of day, the snows descend 

Upon that mountain ; none beholds them there, 

~Nor when the flakes burn in the sinking sun, 

Or the star-beams dart through them : winds contend 



140 A HANDBOOK OF POETRY. 

MOUNTAIN {continued). 

Silently there, and heap the snow, with breath 

Rapid and strong, but silently ; its home 

The voiceless lightning in those solitudes 

Keeps innocently, and like vapour broods 

Over the snow. Shelley. 

Behold the mountains, lessening as they rise, 
Lose the low vales and steal into the skies. — Pope. 

How clear, how keen, how marvellously bright 

The effluence from yon distant mountain's head, 

Which, strewn with snow smooth as the sky can shed, 

Shines like another sun on mortal sight 

Uprisen, as if to check approaching night 

And all her twinkling stars. Who would not tread, 

If so he might, yon mountain's glittering head, — 

Terrestrial, but a surface, by the flight 

Of sad mortality's earth- sullying wing 

Unswept, unstained ? Wordsworth. 

Above me are the Alps, 
The palaces of nature, whose vast walls 
Have pinnacled in clouds their snowy scalps, 
And throned eternity in icy halls 
Of cold sublimity, where forms and falls 
The avalanche — the thunderbolt of snow ! 
All that expands the spirit, yet appals, 
Gather around these summits, as to show 
How earth may pierce to heaven, yet leave vain man 
below ! Byron. 

MORNING. 

The early lark, the messenger of day, 

Saluted in her song the morning grey ; 

And soon the sun arose with beams so bright, 

That all th' horizon laughed to see the joyous sight ; 

He with his tepid rays the rose renews, 

And licks the dropping leaves, and dries the dews. 

Dryden. 



A NEW POETICAL ANTHOLOGY. 141 

MORNING {continued). 

And now the rosy messenger of day 
Strikes the blue mountains with his golden ray. 

Pope. 

Now morn her rosy steps in th' orient clime 
Advancing, sowed the earth with eastern pearl. 

Milton. 

Night rolls the hours away ; 
The redd'ning orient shows the coming day ; 
The stars shine fainter on th' ethereal plains, 
And of night's empire but a third remains. — Pope. 



The rosy-fingered morn appears, 

And from her mantle shakes the tears ; 

The sun, advancing, mortals cheers, 

And drives the rising mists away, 

In promise of a glorious day. — Dhyden. 

And now the smiling morn begins 
Her rosy progress. Milton. 

And now the rising morn, with rosy light, 
Adorns the skies, and puts the stars to flight. 

DPvTDEN, 

Behold the morn, in russet mantle clad, 
Walks o'er the dew of yon high eastern hill. 

Shakspeare. 

See the day begins to break, 
And the light shoots like a streak 
Of subtle fire ; the wind blows cold 
While the morning doth unfold ; 
Now the birds begin to rouse, 
And the squirrel from the boughs 



142 A RAND BOOK OF POETRY. 

MORNING {continued). 

Leaps to get him nuts and fruit : 
The early lark, that erst was mute, 
Carols to the rising day 
Many a note and many a lay. 

Beaumont and Fletcher. 



When through the morning's fleecy veil 

The early sun looks forth with softened rays, 

Like a stilled infant smiling in his tears, 

When, lightly curling on the dewy air, 

The cottage smoke doth wind its path to heaven ; 

When larks sing shrill, and village cocks do crow, 

And lows the heifer loosened from her stall ; 

When heaven's soft breath plays on the woodman's 

brow, 
And every harebell and wild tangled flower 
Smells sweetly from its cage of chequered dew ; 
When merry huntsmen wind the cheerful horn, 
And from its covert starts the fearful prey, — 
Who, warmed with youth's blood in his swelling veins, 
Would, like a lifeless clod, outstretched lie, 
Shut up from all the fair creation offers ? 

Joanna Baillie. 



The impatient morn, 
With gladness on his wings, calls forth, "Arise !" 
To trace the hills, the vales, where thousand dyes 

The ground adorn, 
While the dew sparkles yet within the violet's eyes. 

Pickering. 



Lo ! on the eastern summit, clad in grey, 
Morn, like a horseman girt for travel, comes ; 

And from his tower of mist 

Night's watchman hurries down. 

Kirke White. 



A NEW POETICAL ANTHOLOGY. 143 

MORNING (continued). 

Night wanes — the vapours round the mountains curled 
Melt into morn, and light awakes the world. 
Man has another day to swell the past, 
And lead him near to little but his last ; 
But mighty Nature bounds as from her birth, — 
The sun is in the heavens, and life on earth ; 
Flowers in the valley, splendour in the beam, 
Health on the gale, and freshness iu the stream. 

Bykon. 

The morning curtains now are drawn, 
And now appears the blushing dawn ; 
Aurora has her roses shed, 
To strew the way Sol's steeds must tread. 

Ohahles Cotton. 

Morn, in the white wake of the morning star, 
Came furrowing all the orient into gold. 

Tennyson. 

Morning on her balmy wing, 

From every flower that blows around, 

To all a grateful tribute brings 

Who early tread th' enamelled ground. 

Bicknell. 



MUSIC. 



From harmony, from heavenly harmony, 

The universal frame began ; 

From harmony to harmony, 
Through all the compass of the notes it ran, 
The diapason closing full in man. — Dryden. 



If music be the food of love, play on : 
That strain again : it had a dying fall : 
Oh ! it came o'er my ear like a sweet sound 
That breathes upon a bank of violets, 
Stealing and giving odours.— Shakspeare. 



144 A HANDBOOK OF POETRY. 

MUSIG {continued). 

Oh ! give me music, for my soul doth faint ; 

I'm sick of noise and care ; and now mine ear 
Longs for some air of peace, some dying plaint, 

That may the spirit from its cell unsphere. 

Kirke White. 

There is in souls a sympathy with sounds, 
And as the mind is pitched the ear is pleased 
"With melting airs or martial, brisk or grave ; 
Some chord in unison with what we hear 
Is touched within us, and the heart replies. 

Cowper. 

Come forth, lost spirits of the world of sound ! 

Leave, leave awhile your aye sweet tasks above ; 
And rear your starry heads with music crowned, 

And once more weave an earthly song of love ! 

Barry Cornwall. 

Song lifts the languid oar, 
And bids it aptly fall, with chime 

That beautifies the fairest shore, 
And mitigates the harshest clime. 

Wordsworth. 

Music, oh, how faint, how weak ! 

Language fades before thy spell : 
Why should feeling ever speak, 

When thou canst breathe her soul so well ? 

T. Moore. 

NATURE. 

Unerring nature, still divinely bright, 
One clear, unchanged, and universal light ; 
Life, force, and beauty must to all impart, — 
At once the source, the end, and test of art. 

Pope. 



A NEW POETICAL ANTHOLOGY. 145 

NATURE (continued). 

The God of nature and of grace 

In all His works appears ; 
His goodness through, the earth we trace, 
• His grandeur in the spheres. 

James Montgomery. 

Lo, the lilies of the field, 

How their leaves instruction yield ! 

Hark to Nature's lesson given 

By the blessed birds of heaven. — Heber. 

There is a pleasure in the pathless woods, 
There is a rapture on the lonely shore, 
There is society where none intrudes 
By the deep sea, and music in its roar ; 
I love not man the less, but nature more, 
From these our interviews, in which I steal 

From all I may be, or have been before, 
To mingle with the universe, and feel 
What I can ne'er express, yet cannot all conceal. 

Byron. 
NIGHTINGALE. 

"Whence is it, that amazed I hear 

From yonder withered spray, 
This foremost month of all the year 

The melody of May ? — Cowper. 

Thy voice is sweet — is sad — is clear ; 

And yet, methinks, 't should flow unseen, 
Like hidden rivers that we hear 

Singing amongst the forests green. 

Barry Cornwall. 

Oh, nightingale, that on yon bloomy spray 
Warblest at eve, when all the woods are still ! 
Thou with fresh hope the lover's heart doth fill, 

While the jolly hours lead on propitious May. 

Thy liquid notes that close the eye of day, 
First heard before the shallow cuckoo's bill, 

Portend success in love. — Milton. 



146 A HANDBOOK OF POETRY. 

NIGHTINGALE {continued). 

Sweet poet of the woods, a long adieu ! 

Farewell, soft minstrel of the early year ! 
Ah ! 'twill be long ere thou shalt sing anew, 

And pour thy music on the " night's dull ear." 

Whether on spring thy wandering flights await, 
Or whether silent in our groves you dwell, 

The pensive muse shall own thee for her mate, 
And still protect the song she loves so well. 

Charlotte Smith. 



Thou wast not born for death, immortal bird, — 

No hungry generations tread thee down ; 
The voice I hear this passing night was heard 

In ancient days by emperor and clown : 
Perhaps the self-same song that found a path 

Through the sad heart of Euth, when, sick for home. 
She stood in tears amid the alien corn — 
The same that ofttimes hath 

Charmed magic casements, opening on the foam 
Of perilous seas, in fairy lands forlorn. — Keats. 



NIGHT. {See Evening.) 

Darkness now rose, and brought the lowering night, 
Her shadowy offspring, unsubstantial both, 
Privation mere of light, and absent day. 

Milton. 



Now deep in ocean sunk the lamp of light 

And drew behind the cloudy veil of night. — Pope. 

Soon, as with gentle sighs, the evening breeze 
Began to whisper thro' the murm'ring trees ; 
And night had wrapt in shades the mountains' heads, 
While winds lay hushed in subterranean beds. 

Garth. 



A NEW POETICAL ANTHOLOGY. U7 

NIGHT (continued). 

The night, proceeding on with silent pace, 
Stood in her noon, and viewed with equal face 
Her sleepy rise and her declining race. — Dryden. 

~Novr had night measured, with her shadowy cone, 
Half-way up hill this vast sublunar vault. — Milton. 

How beautiful is night ! 

A dewy freshness fills the silent air, 

~No mist, no little cloud 

Breaks the serene of heaven. 

In full-orbed glory the majestic moon 

Bolls through the dark blue depths. 

Around her steady ray 

The desert-circle spreads ; 

Like the round ocean, girded by the sea, 

How beautiful is night ! — Southey. 

I heard the trailing garments of the night 

Sweep through her marble halls ! 
I saw her sable skirts all fringed with light 

From the celestial walls ! — Longfellow. 

How beautiful this night ! the balmiest sigh 
"Which vernal zephyrs breathe in evening's ear 
Were discord to the speaking quietude 
That wraps this moveless scene. — Shelley. 

It is the hush of night, and all between 

Thy margin and the mountains dusk, yet clear, 
Mellowed and mingling, yet distinctly seen, 

Save darkened Jura, whose capt heights appear 
Precipitously steep ; and drawing near, 
There breathes a living fragrance from the shore, 
Of flowers yet fresh with childhood; on the ear 
Drops the light drip of the suspended oar, 
Or chirps the grasshopper one good-night carol more. 

Byron, 
l 2 



148 A HANDBOOK OF POETRY. 

NIGHT (continued). 

It is the witching hour. The night 
Sits on her cold meridian height, 
And the starry troops are seen 
Camping round their ancient queen, 
Till upon the eastern zone 
Ascends a rival to her throne ; 
And the pearly lunar horn 
Shines, but a more silent morn. — Croly. 

'Twas night : our anchored vessel slept 

Out on the glassy sea ; 
And still as heaven the waters kept 

And golden bright, as he, 
The setting sun, was sinking low 

Beneath the eternal wave ; 
And the ocean seemed a pall to throw 

Over the monarch's grave. — Rockwell. 

Night is the time for rest : 

How sweet when labours close, 
To gather round an aching breast 

The curtain of repose ; 
Stretch the tired limbs, and lay the head 
Upon our own delightful bed. 

James Montgomery. 

NOBILITY. 

Nobility of blood 
Is but a glittering and fallacious good : 
The nobleman is he, whose noble mind 
Is filled with inbred worth, unborrowed from his kind. 

Dryden. 

A king can mak' a belted knight, 

A marquis, duke, and a' that ; 
But an honest man's aboon his might, — 

Guid faith, he mauna fa' that I 
For a' that, and a' that, 

Their dignities and a' that ; 
The pith o' sense and pride o' worth 

Are higher ranks than a' that. — Burns. 



A NEW POETICAL ANTHOLOGY. 149 

NOBILITY (continued). 

The rank is but the guinea's stamp, 
The man's the gowd for a' that. — Burns. 

OAK.— OAKS. 

The monarch oak, the patriarch of the trees, 
Shoots rising up, and spreads by slow degrees : 
Three centuries he grows, and three he stays 
Supreme in state ; and in three more decays. 

Dryden. 



His arms from their trunk are riven ; 

His body all barked and squared ; 
And he's now, like a felon, driven 

In chains to the strong dockyard : 
He's sawn through the middle, and turned 

For the ribs of a frigate free ; 
And he's caulked, and pitched, and burned ; 

And now— he is fit for sea ! 

Barry Cornwall. 



I see an oak before me : it hath been 

The crowned one of the woods ; and might have flung 
Its hundred arms to heaven, still freshly green ; 

But a wild vine around the stem hath clung, 
From branch to branch close wreaths of bondage 

throwing, 
Till the proud tree, before no tempest bowing, 

Hath shrunk and died those serpent folds among, 
Alas ! alas ! what is it that I see ? 
An image of man's mind, land of my sires, with thee ! 

Mrs. Hemans. 

The sapling oak, lost in the dell, 

Where tangled brakes its beauties spoil, 

And every infant shoot repel, 

Droops, hopeless, o'er th' exhausted soil. 



150 A HANDBOOK OF POETRY. 

OAK (continued). 

At length the woodman clears the ground, 
Where'er the noxious thickets spread, 

And high reviving o'er the ground 

The forest monarch lifts his head. — Cobb. 



OCEAN. 

Thou glorious mirror, where the Almighty's form 
Glasses itself in tempests ; in all time, — ■ 

Calm or convulsed, in breeze, or gale, or storm, 
Icing the pole, or in the torrid clime 
Dark heaving, boundless, endless, and sublime, 

The image of eternity, the throne 

Of the invisible ; even from out thy slime 

The monsters of the deep are made ; each zone 

Obeys thee ; thou goest forth, dread, fathomless, alone. 

Byiion. 



Outrageous as a sea, dark, wasteful, wild, 
Up from the bottom torn with furious winds 
And surging waves, as mountains to assault 
Heav'n's height, and with the centre mix the pole. 

Milton, 



The sea itself smooths its rough face awhile, 
Flattering the greedy merchant with a smile ; 
But he whose shipwrecked bark it drank before, 
Sees the deceit, and knows it would have more. 

Cowley. 



As when old ocean roars, 
And heaves huge surges to the trembling shores, 
The groaning banks are burst with bellowing sound, 
The rocks re-murmur, and the deeps rebound. 

Pope. 



A NEW POETICAL ANTHOLOGY. 151 



OLD AGE. 



For youth it self's an empty wavering state : 
Cool age advances venerably wise, 
Turns on all hands its deep- discerning eyes ; 
Sees what befell, and what may yet befall ; 
Concludes from both, and best provides for all. 

Pope. 

We yet may see the old man in a morning, 
Lusty as health, come ruddy to the field, 
And there pursue the chase as if he meant 
T' o'ertake time, and bring back youth again. 

Otway. 

They say I'm old ; because I'm grey, 
The aged bard, they now call me ! 

But, grey or green, I boldly say, 
We're not old yet, but mean to be. 

Though sixty years and ten may doom 
Tired men to rest with worms and me ; 

With sixty gone, and ten to come, 
We're not old yet, but mean to be. 

Ebenezes, Elliot. 

And said I that my limbs were old? 
And said I that my blood was cold, 
And that my kindly fire was fled, 
And my poor withered heart was dead, 
And that I might not sing of love ? 

Scott. 

As in our individual fate, 

Our manhood and maturer date 
Correct the faults and follies of our youth ; 

So will the world, I fondly hope, 

With added years give fuller scope 
To the display and love of wisdom, justice, truth. 

Houace Smith. 



152 A HANDBOOK OF POETRY. 

OWL. 

With boding 1 note 
The solitary screech-owl strains her throat : 
Or on a chimney's top, or turret's height, 
With songs obscene disturbs the silence of the night. 

Dryden. 

When icicles hang by the wall, 

And Dick the shepherd blows his nail, 
And Tom brings logs into the hall, 

And milk comes frozen home in pail; 
When blood is nipped, and ways be foul, 
Then nightly sings the staring owl, 

To-whoo ! 
To-whit, to-whoo ! a merry note, 
While greasy Joan doth keel the pot. 

Shakspeare. 

When cats run home, and light is come, 
And dew is cold upon the ground, 

And the far-off stream is dumb, 
And the whirring sail goes round ; 

Alone, and warming his five wits, 

The white owl in the belfry sits. — Tennyson. 



I see thee coming, critic owl ! — ■ 

I see thee from thy haunt advance ; 

With griping claw and hungry glance 
I see thee dart upon thy prey, 
And bear him to the shades away. 

Oh, mighty owl ! forbear, forbear ; 

One vagrant should another spare. 

W. T. Moncriezf (from the Greek). 



In the hollow tree, in the old grey tower, 

The spectral owl doth dwell ; 
Dull, hated, despised, in the sunshine hour, 

But at dusk, he's abroad and well ! 



A NEW POETICAL ANTHOLOGY. 153 

OWL {continued). 

Not a bird of the forest e'er mates with him ; 

All mock him outright by day ; 
But at night, when the woods grow still and dim, 

The boldest will shrink away ; 
Oh, when the night falls, and roosts the fowl, 
Then, then is the reign of the horned owl. 

Barry Cornwall, 



While moonlight, silvering all the walls, 

Through every mouldering crevice falls, 

(Tipping with white his powdery plume, 

As shades or shifts the changing gloom,) 

The owl that, watching in the barn, 

Sees the mouse creeping in the corn, 

Sits still and shuts his round blue eyes 

As if he slept, — until he spies 

The little beast within its stretch, 

Then starts, and seizes on the wretch. — Butler, 



PARTING. 

Parting is worse than death : 'tis death of love ! 

The soul and body part not with such pain 

As I from you. Dryden, 



Her voice did quiver as we parted, 

Yet knew I not that heart was broken 
From whence it came, and I departed, 
Heeding not the words then spoken. 
Misery — O misery ! 
This world is all too wide for thee. 

Shelley. 

As slow our ship her foamy track 

Against the wind was cleaving, 
Her trembling pennant still looked back 

To that dear isle 'twas leaving. 



154 A HANDBOOK OF POETRY. 

PARTING {continued). 

So loth, we part from all we love, 

From all the links that bind us ; 
So turn our hearts, as on we rove, 

To those we've left behind us. — T. Mooue. 

There's such sweet pain in parting, 
That I could hang for ever on thine arms, 
And look away my life into thine eyes. — Otway. 

Good night, good night ! parting is such sweet sorrow, 
That I shall say good night till it be morrow. 

Shakspeare. 

PASTOR.— PRIEST. 

At church, with meek and unaffected grace, 
His looks adorned the venerable place ; 
Truth from his lips prevailed with double sway, 
And fools who came to scoff remained to pray. 

Goldsmith. 

Solemnly down the street came the parish priest, and 

the children 
Paused in their play to kiss the hand he extended to 

bless them. 
Eeverend he walked among them; and up rose 

matrons and maidens, 
Hailing his slow approach with words of affectionate 

welcome. Loegfellow. 



A parish priest was of the pilgrim train, — 

An awful, reverend, and religious man ; 

His eyes diffused a venerable grace, 

And charity itself was in his face. 

Rich was his soul, though his attire was poor, 

As God had clothed his own ambassador, 

For such, on earth, his blest Redeemer wore. 

Deyden. 



A If JEW POETICAL ANTHOLOGY. 155 

PATRIOTISM. 

Breathes there a man with soul so dead, 
Who never to himself hath said, 

" This is my own, my native land;" 
Whose heart hath ne'er within him burned, 
As home his footsteps he hath turned, 

From wandering on a foreign strand ? 
If such there breathe, go, mark him well : 
For him no minstrels' raptures swell ; 
High though his titles, proud his name, 
Boundless his wealth as wish can claim ; 
Despite those titles, power, and pelf, 
The wretch, concentred all in self, 
Living, shall forfeit fair renown, 
And, doubly dying, shall go down 
To the vile dust from whence he sprung, 
Unwept, unhonoured, and unsung. — Scott. 

PEASANTRY. 

Ill fares the land, to hastening ills a prey, 
Where wealth accumulates and men decay : 
Princes and lords may flourish, or may fade ; 
A breath can make them, as a breath has made ; 
But a bold peasantry, their country's pride, 
When once destroyed, can never be supplied. 

Goldsmith. 

PITY. 

And pity on fresh objects only stays, 
But with the tedious sight of woes decays. 

Detden. 

Friend of the poor, the sad, the weak, 
Heart-soothing Pity, offspring meek 

Of Mercy and Despair. — Hexry 2Teele, 



PLAYER, 



I can counterfeit the deep tragedian, — 
Speak, and look big, and pry on every side, 
Tremble and start at wagging of a straw, 



156 A HANDBOOK OF POETRY. 

PLAYER {continued). 

Intending deep suspicion ; ghastly looks 

Are at my service, like enforced smiles ; 

And both are ready in their offices 

At any time to grace my stratagems. — Shakspeaee. 



Is it not monstrous that this player here, 

But in a fiction, in a dream of passion, 

Could force his soul so to his whole conceit, 

That from her workings all his visage warmed ; 

Tears in his eyes, distraction in his aspect, 

A broken voice, and his whole function suiting 

With forms to his conceit ? and all for nothing ! 

For Hecuba! What's Hecuba to him, or he to 

Hecuba, 
That he should weep for her ? — Shakspeare. 



Like a player 
Bellowing his passion till he break the spring, 
And his racked voice jar to the audience. 

Shakspeaee. 



Sad happy race ! soon raised and soon depressed, 
Your days all passed in jeopardy and jest ; 
Poor without prudence, with afflictions vain ; 
Not warned by misery, not enriched by gain. 

Crabbe. 



.Children of Thespis, welcome ! knights and queens, 
Counts, barons, beauties, when before your scenes, 
And mighty monarchs thundering from your throne ; 
Then step behind, and all your glory's gone : 
Of crown and palace, throne and guards bereft, 
The pomp is vanished, and the care is left. 
Yet strong and lively is the joy they feel, 
When the full house secures the plenteous meal ; 



A NEW POETICAL ANTHOLOGY. 157 

PLATE B (continued). 

Flattering and flattered ; each attempts to raise 

A brother's merits for a brother's praise : 

For never hero shows a prouder heart, 

Than he who proudly acts a hero's part ; 

Nor without cause : the boards, we know, can yield 

Place for fierce contest, like the tented field. — Crabee. 



POET.— POETS. 

The poet in a golden clime was born, 

With golden stars above ; 
Dowered with the hate of hate, the scorn of 
scorn, 

The love of love. — Tennyson. 

Love the poet, pretty one ! 

He unfoldeth knowledge fair ; 
Lessons of the earth and sun, 

And of azure air. 
He can teach thee how to reap 

Music from the golden lyre ; 
He can show thee how to steep 

All thy thoughts in fire.— Barry Cornwall. 

Poets may boast, as safely vain, 
Their works shall with the world remain : 
Both bound together, live or die, 
The verses and the prophecy. 

* # .# * # 

Chaucer his sense can only boast, 
The glory of his numbers lost ! 
Tears have defaced his matchless strain, 
And yet he did not sing in vain. — Waller. 



Oh ! 'tis a sleeping poet ! and his verse 
Sings like the syren isles. An opulent soul 
Dropt in my path like a great cup of gold, 
All rich and rough with stories of the gods ! 



158 A HANDBOOK OF POETRY. 

POET {continued). 

Methinks all poets should be gentle, fair, 
And ever young, and ever beautiful : 
I'd have all poets to be like to this, — 
Gold-haired and rosy-lipped, to sing of Love. 

Alexander Smith. 

A terrible sagacity informs 
The poet's heart; he looks to distant storms, 
He hears the thunder ere the tempest roar, 
The billow ere it breaks upon the shore. — Cowper. 



There was a poet whose untimely tomb 

No human hands with pious reverence reared, 

But the charmed eddies of autumnal winds 

Built o'er his mouldering bones a pyramid 

Of mouldering leaves in the waste wilderness ; 

A lovely youth, — no mourning maiden decked 

The lone couch of his everlasting sleep; 

Gentle, and brave, and generous, — no lorn bard 

Breathed o'er his dark fate one melodious sigh : 

He lived, he died, he sang in solitude. 

Strangers have wept to hear his passionate notes, 

And virgins, as unknown he passed, have pined 

And wasted for fond love of his soft eyes. — Shelley. 



Curse on ungrateful man, that can be pleased, 

And yet can starve the author of the pleasure ! 

O thou my elder brother in misfortune, 

By far my elder brother in the muses, 

With tears I pity thy unhappy fate ! 

Why is the bard unpitied by the world, 

Yet has so keen a relish of its pleasures ? — Burns. 

Trace the young poet's fate : 
Fresh from his solitude, the child of dreams, 
His heart upon his lips, he seeks the world, 
To find him fame and fortune, as if life 



A NEW POETICAL ANTHOLOGY. 159 

POET (continued). 

Were like a fairy tale. His song has led 

The way before him ; flatteries fill his ear, 

His presence courted, and his words are caught ; 

And he seems happy in so many friends. 

What marvel if he somewhat overrate 

His talents and his state ? These scenes soon change. 

The vain, who sought to mix their name with his ; 

The idle, — all these have been gratified, 

And now neglect stings even more than scorn. 

L. E. L. (Mrs. Maclean.) 

"Who is the poet ? Who the man whose lines 
Live in the souls of men like household words ? 
Whose thought, spontaneous as the song of birds, 

With eldest truth coeval, still combines 

With each day's product, and like morning shines 
Exempt from age ? 'Tis he, and only he, 
Who knows that Truth is free, and only free, — 

That Virtue, acting in the strict confines 
Of positive law, instructs the infant spirit 
In its best strength, and proves its mere demerit 

Rooted in earth, yet tending to the sky, 
With patient hope surveys the narrow bound, 
Culls every flower that loves the lowly ground, 

And, fraught with sweetness, wings her way on high. 

Hartley Coleridge. 

The young author, panting after fame, 
And the long honours of a lasting name, 
Intrusts his happiness to human kind, 
More false, more cruel, than the seas or wind. 

Johnson. 

Not far beneath the hero's feet, 
Nor from the legislator's seat, 

Stands far remote the bard. 
Though not with public terrors crowned, 
Yet wider shall his rule be found, 

More lasting his reward. — Akenside. 



160 A HANDBOOK OF POETRY. 

POPULACE. 

Dissensious rogues, 
That rubbing the poor itch of your opinions 
Make yourselves scabs. 

That like not peace nor war : the one affrights you, 
The other makes you proud. 

Who deserves greatness, 
Deserves your hate. Your affections are 
A sick man's appetite, who desires most that 
Which would increase his evil. He that depends 
Upon your favours, swims with fins of lead. 

Shakspeare. 



The scum 
That rises upmost when the nation boils. 

Dryden. 



The power of armies is a visible thing, 

Formal, and circumscribed in time and space ; 
But who the limits of that power shall trace 
Which a brave people into light can bring 
Or hide at will, — for freedom combating, 
By just revenge inflamed ? — Wordsworth. 



PRIMROSE. 



A primrose by a river's brim, 

A yellow primrose was to him, 

And it was nothing more. — Wordsworth. 



In this low vale, the promise of the year, 
Serene, thou openest to the nipping gale, 

Unnoticed and alone, 

Thy tender elegance. 
So virtue blooms, brought forth amid the storms 
Of chill adversity ; in some lone walk 

Of life she rears her head, 

Obscure and unobserved. — Kirke White. 



A NEW POETICAL ANTHOLOGY. 161 

PRISONER. 

My hair is grey, "but not with years, 

Nor grew it white 

In a single night, 
As men's have grown from sudden fears; 
My limbs are bowed, though not with toil, 

But rusted with a vile repose ; 
For they have been a dungeon's spoil, 

And mine has been the fate of those 
To whom the goodly earth and air 
Are banned, and barred, — forbidden fare. 

Byron. 
RAGE. 

Rage is the shortest passion of our souls. 

Like narrow brooks, that rise with sudden showers, 

It swells in haste, and falls again as soon ; 

Still as it ebbs the softer thoughts flow in, 

And the deceiver Love supplies its place. — Rowe. 

His breast with fury burned, his eyes with fire, 
Mad with despair, impatient with desire. — Dryden. 

In his black thoughts revenge and slaughter roll, 
And scenes of blood rise dreadful in his soul. — Pope. 

Oppose not rage while rage is in its force ; 
But give it way awhile, and let it waste : 
The rising deluge is not stopped with dams ; 
Those it o'erbears, and drowns the hope of harvest ; 
But, wisely managed, its divided strength 
Is sluiced in channels, and securely drained. 
And, when its force is spent and unsupplied, 
The residue and mounds may be restrained, 
And dry-shod we may pass the naked ford. 

Shakspeare. 
RAINBOW. 

'Tis a picture in memory distinctly defined, 

With the strong and unperishing colours of mind ; 

A part of my being beyond my control, 

Beheld on that cloud, and transcribed on my soul. 

Campbell. 



162 A HANDBOOK OF POETRY. 

RAINBOW {continued). 

Jove's wond'rous bow, of three celestial dyes, 
Placed as a sign to man amidst the skies. — Pope. 

REPUTATION. 

Good name in man or woman 

Is the immediate jewel of our sonls. 

Who steals my purse steals trash ; 'tis something, 

nothing ; 
'T was mine, 'tis his, and has been slave to thousands ; 
But he that niches from me my good name, 
Bobs me of that which not enriches him, 
And makes me poor indeed. Shakspeare. 

RHYMES. 

Bhyme the rudder is of verses, 

With which, like ships, they steer their courses. 

Butler. 

And those who write in rhyme still make 
The one verse for the other's sake ; 
For one for sense, and one for rhyme, 
I think's sufficient for one time. — Butler. 

RICHES. {See Gold.) 

Pond men, by passions wilfully betrayed, 
Adore those idols which their fancy made ; 
Purchasing riches with our time and care, 
We lose our freedom in a gilded snare ; 
And having all, all to ourselves refuse, 
Oppressed with blessings which we fear to lose. 
In vain our fields and flocks increase our store, 
If our abundance makes us wish for more. 

Eoscommon. 

RIVER.— RIVERS. {See Rrooh.) 

Eiver, arise ! whether thou be the son 
Of utmost Tweed, or Ouse, or gulfy Dun, 



A NEW POETICAL ANTHOLOGY. 163 

Ml VJblR (continued). 

Or Trent, who, like some earth-born giant, spreads 

His thirsty arms along the indented meads ; 

Or sullen Mole that runneth underneath ; 

Or Severn swift, guilty of maiden's death; 

Or rocky Avon, or of sedgy Lea, 

Or coaly Tyne, or ancient hallowed Dee ; 

Or Huniber loud, that keeps the Scythian's name ; 

Or Medway smooth, or royal-towered Thame. 

Milton. 

Wide o'er the brim, with many a torrent swelled, 
And the mixed ruin of its banks o'erspread, 
At last the roused-up river pours along ; 
Resistless, roaring, dreadful, down it comes, 
From the rude mountain and the mossy wild, 
Tumbling through rocks abrupt, and sounding far ; 
Then o'er the sanded valley floating spreads, 
Calm, sluggish, silent ; till again constrained 
Between two meeting hills, it bursts a way, 
Where rocks and woods o'erhang the turbid stream ; 
There gathering triple force, rapid, and deep, 
It boils, and wheels, and foams, and thunders through. 

Thomson. 

But thou, exulting and abounding river ! 

Making thy waves a blessing as they flow 
Through banks whose beauty would endure for ever, 

Could man but leave thy bright creation so, 
Nor its fair promise from the surface mow 

With the sharp scythe of conflict, — then to see 
Thy valley of sweet waters, were to know 

Earth paved like heaven ; and to seem such to me, 
Even now what wants thy stream ? — that it should Lethe 
be. Byron. 

Cambrian river ! with slow music gliding 
By pastoral hills, old woods, and ruined towers ; 

Now 'midst thy reeds and golden willows hiding, 
Now gleaming forth by some rich bank of flowers ; 

M 2 



164 A HANDBOOK OF POETRY. 

RIVER (continued). 

Long flowed the current of my life's clear hours 

Onward with thine, whose voice yet haunts my dream, 

Though time and change, and other mightier powers, 
Far from thy; side have borne me. Thon, smooth stream, 

Art winding still thy sunny meads along, 

Murm'ring to cottage and grey hall thy song, 

Low, sweet, unchanged. Mrs. Hemans. 

ROSE. 

And the rose like a nymph to the bath addressed, 
Which unveiled the depth of her glowing breast, 
Till, fold after fold, to the fainting air 
The soul of her beauty and love lay bare. Shelley. 

How much of memory dwells amidst thy bloom, 
Eose ! ever wearing beauty for thy dower ! 

The bridal- day — the festival — the tomb — 
Thou hast thy part in each, thou stateliest flower ! 

Mrs. Hemans. 

The rose is fairest when 'tis budding new, 

And hope is brightest when it dawns from fears ; 

The rose is sweetest washed with morning dew, 
And love is loveliest when embalmed in tears. 

wilding rose ! whom fancy thus endears, 
I bid your blossom in my bonnet wave, 

Emblem of hope and love, through future years. 

Scott. 

" Change me, some god, into that breathing rose ! " 

The love- sick stripling fancifully sighs; 

The envied flower beholding, as it lies 
On Laura's breast, in exquisite repose. 

Wordsworth. 

The rose has one powerful virtue to boast, 

Above all the flowers of the field ; 
When its leaves are all dead, and its colours are lost, 

A perfume, still sweet, it will yield. Dr. Watts. 



A NEW POETICAL ANTHOLOGY. 165 

RUMOUR. 

Rumour is a pipe 
Blown by surmises, jealousies, conjectures; 
And is so easy and so plain a stop, 
That the blind monster with uncounted heads, 
The still discordant, wavering multitude, 
Can play upon't. Shakspeaee. 

SEA-SHORE. 

When evening came, toward the echoing shore, 

Tranquil and pleased, we walked together forth ; 

Bright with dilated glory shone the west ; 

But brighter lay the ocean flood below, 

The burnished silver sea, that heaved and flushed, 

Its restless rays intolerably bright. — Southey. 

Break, break, break, 

On thy cold grey stones, Sea ! 
And I would that my tongue could utter 

The thoughts that arise in me. 
O well for the fisherman's boy 

That he shouts with his sister at play ! 
O well for the sailor lad 

That he sings in his boat on the bay ! 

Tenntsox. 

Rocks of my country ! let the cloud 

Your crested heights array, 
And rise ye like a fortress proud, 

Above the surge and spray ! 
My spirit greets ye as ye stand 

Breasting the billows foam : 
O ! thus for ever guard the land, 

The severed land of home. — Mrs. Hemans. 

SHIP.— SHIPS. 

Hoarse o'er the side the rustling cable rings ; 

The sails are furled, and anchoring round she swings : 



166 A HANDBOOK OF POETRY. 

SHIPS (continued). 

And gathering loiterers on the land discern 
Her boat descending from the latticed stern. 
'Tis manned — the oars keep concert to the strand, 
Till grates her "keel upon the shallow sand. 
Hail to the welcome shout ! — the friendly speech ! 
When hand grasps hand uniting on the beach ; 
The smile, the question, and the quick reply, 
And the heart's promise of festivity ! — Byron. 



The ship was at rest in the tranquil bay, 

Unmoved by a ripple — undimned by a cloud : 
The winds were asleep, and her broad sails lay 

As still and as white as a winding- shroud. 
She was a fair and beautiful thing, 

"With the waters around her, all peaceful and bright ; 
Ready for speed as a wild bird's wing, 

Graceful in quiet — 'mid glory and light. — Eliza Cook. 



Go, in thy glory, o'er the ancient sea, 

Take with thee gentle winds thy sails to swell ; 

Sunshine and joy upon thy streamers be, 
Fare thee well, bark — farewell ! — Mrs. Hemans. 



Where lies the land to which yon ship must go ? 

Fresh as a lark mounting at break of day, 

Festively she puts forth in trim array ; 

Is she for tropic suns or polar snow ? 

What boots the inquiry ? Neither friend nor foe 

She cares for : let her travel where she may, 

She finds familiar names, a beaten way 

Ever before her, and a wind to blow. — Wordsworth. 



When o'er the silent seas alone, 
For days and nights we've cheerless gone, 
Oh, they who've felt it know how sweet, 
Some sunny morn a sail to meet. 



A NEW POETICAL ANTHOLOGY. 167 

SHIPS {continued). 

Sparkling at once is every eye, 

" Ship ahoy ! " our joyful cry ; 

While answering back the sound we hear, 

"Ship ahoy! What cheer? What cheer?" 

T. Moore. 



SHIPWRECK 

And first one universal shriek there rushed, 
Louder than the loud ocean, like a crash 

Of echoing thunder ; and then all was hushed, 
Save the wild wind and the remorseless dash 

Of billows ; but at intervals there gushed, 
Accompanied with a convulsive splash, 

A solitary shriek, the bubbling cry 

Of some strong swimmer in his agony. — Byron. 

The great ship seems splitting ! it cracks as a tree, 
While an earthquake is splintering its root, ere the blast 
Of the whirlwind that stript it of branches has past. 
The intense thunder-balls which are raining from heaven 
Have shattered its mast, and it stands black and riven. 
The chinks suck destruction. The heavy dead hulk 
On the living sea rolls an inanimate bulk, 
Like a corpse on the clay which is hung'ring to fold 
Its corruption around it. Meanwhile, from the hold, 
One deck is burst up from the waters below, 
And it splits like the ice when the thaw-breezes blow 
O'er the lakes of the desert ! Shelley. 

SIGH. 

He raised a sigh so hideous and profound, 

That it did seem to shatter all his bulk, 

And end his being. Shakspeare. 

All the vital air that life draws in 

Is rendered back in sighs. Rowe. 



168 A HANDBOOK OF POETRY. 

SIGH (continued). 

Nor woman's sighs nor tears are true, 

Those idly blow, these idly fall, 

Nothing like to ours at all ; 
But sighs and tears have sexes too. — Cowley. 

Had I a man's fair form, then might my sighs 
Be echoed swiftly through that ivory shell, 
Thine ear, and find thy gentle heart. — Keats. 

SILENCE. 

Still as the peaceful walks of ancient night ; 
Silent as are the lamps that burn on tombs. 

Shakspeare. 

Silent as dews that fall in dead of night. — Dryden. 

Let the proud orator assert the power 

That language holds ; but the soul, prouder still, 

Shall keep an eloquence all, all her own, 

And mock the tongued interpreter. — Eliza Cook. 

The fire of those soft orbs has ceased to burn, 

And silence, too, enamoured of that voice, 

Locks its mute music in her rugged cell. — Shelley. 

'Tis silence gives soul to the beauty of night ; 
'Tis silence keeps secrets, the lover's delight ; 
The stream moves in stillness, when soft on its breast 
The willows' fond leaves He in kisses at rest. 

Leigh Hunt. 

SINGING. 

She sung, and carolled out so clear, 
That men and angels might rejoice to hear; 
Even wondering Philomel forgot to sing, 
And learned from her to welcome in the spring. 

Dryden. 



A NEW POETICAL ANTHOLOGY. 169 

SINGING (continued). 1 

And now 'twas like all instruments, 

Now like a lonely flute ; 
And now it is an angel's song 

That makes the heavens be mute. 

S. T. COLERIDGE. 

Her voice is hovering o'er my soul — it lingers 
O'ershadowing it with soft and lulling wings ; 

The blood and life within those snowy fingers 
Teach witchcraft to the instrumental strings. 

Shelley. 

Yet, what matter for the strain, 

Be it joy, or be it pain, 

So thy now imprisoned voice 

In its matchless strength rejoice ? 

So it burst its fetters strong, 

And soar forth on winged song ? 

Barry Cornwall. 

Lady, sing no more ! 

Science is in vain, 
Till the heart be touched 

And give forth its pain. 

Barry Cornwall. 

Sing — sing ! music was given 

To brighten the gay, and kindle the loving ; 
Souls here, like planets in heaven, 

By harmony's laws are kept moving. 

T. Moore. 

By its fond and plaintive lingering 

On each word of grief so long, 
Oh ! thou hast loved and suffered much ; 

I know it by thy song. Mrs. Hemans. 



170 A HANDBOOK OF POETRY. 

SKYLARK. 

Ethereal minstrel ! pilgrim of the sky ! 

Dost thou despise the earth where cares abound? 
Or, while thy wings aspire, are heart and eye 

Both with thy nest upon the dewy ground — 
Thy nest which thou canst drop into at will-? 
Those quivering wings composed that music still ! 

Wordsworth. 

The lark that shuns on lofty boughs to build 
Her humble nest, lies silent in the field ; 
But if the promise of a cloudless day, 
Aurora smiling, bids her rise and play, 
Then straight she shows 'twas not for want of voice, 
Or power to climb, she made so low a choice ; 
Singing she mounts, her airy wings are stretched 
To'ards heaven, as if from heaven her note she fetched. 

Waller. 

And now the herald lark 
Left his ground nest, and towering to descry 
The morn's approach, and greet her with his song. 

Milton. 

Hail to thee, blithe spirit ! 

Bird thou never wert, 
That from heaven, or near it, 
Pourest thy full heart 
In profuse strains of unpremeditated art. 

Shelley. 

Hark ! hark ! the lark at heaven's gate sings, 

And Phoebus 'gins arise, 
His steeds to water at those springs 

On chaliced flowers that lies. — Shakspeare. 

Oh, skylark, for thy wing ! 

Thou bird of joy and light, 
That I might soar and sing 

At heaven's empyreal height. 

Mrs. Hemans. 



A NEW POETICAL ANTHOLOGY. 171 

SKYLAPvK {continued). 

Bird of the wilderness, 

Blithesome and comberless, 
Sweet be thy matin o'er moorland and lea ; 

Emblem of happiness, 

Blessed is thy dwelling place ; 
Oh, to abide in the desert with thee ! 

James Hogg. 



The tuneful lark, as soaring high 

Upon its downy wings, 
"With wonder views the vaulted sky, 

And mounting sweetly sings. 
Ambition swells its little breast 

Suspended high in air ; • 
But gently dropping to the nest, 

Finds real pleasure there. O'Keeee. 

SLEEP. 

sleep, gentle sleep, 
jSature's best nurse ! how have I frighted thee, 
That thou no more wilt weigh mine eyelids down, 
And steep my senses in forgetfulness ? 
Why rather, sleep, lyest thou in smoky cribs, 
Upon uneasy pallads stretching thee, 
And hushed with buzzing night, flyest to thy slumber, 
Than in the perfumed chambers of the great, 
Under the canopy of costly state, 
And lulled with sounds of sweetest melody ? 
thou dull god ! why lyest thou with the vile 
In loathsome beds, and leavest the kingly couch ? 
"Wilt thou upon the high and giddy mast 
Seal up the sea-boy's eyes, and rock his brains 
In cradle of the rude imperious surge, 
And in the visitation of the winds ? 
Canst thou, partial sleep ! give thy repose 
To the wet sea-boy in an hour so rude, 
And in the calmest and the stillest night 
Deny it to a king ? Shakspeahe. 



172 A HANDBOOK OF POETRY. 

SLEEP (continued). 

sacred rest ! 
Sweet pleasing sleep ! of all the powers the best ! 
O peace of mind ! repairer of decay, 
Whose balms renew the limbs to labours of the day ; 
Care shuns thy soft approach, and, sullen, flies away. 

Dryden. 

Sleep, that locks up the senses from their care ; 
The death of each day's life ; tired Nature's bath ! 
Balm for hurt minds, great Nature's second course, 

Death's counterfeit, 
Chief nourisher in life's feast. — Shakspeare. 



The timely dew of sleep 
Now falling, with soft slumberous weight inclines 
My eyelids. Milton. 

Then gentle sleep, with soft oppression, seized 

My drowsy sense. Milton. 

Winds, whisper gently whilst she sleeps, 
And fan her with your cooling wings ; 

Whilst she her drops of beauty weeps, 
From pure, and yet unrivalled springs. 

Charles Cotton. 



Come to me, gentle sleep ! 

I pine, I pine for thee ; 
Come with thy spells, the soft, the deep, 

And set my spirit free ! — Mrs. Hemans. 



Come sleep, sleep, the certain knot of peace, 
The baiting- place of wit, the balm of woe ; 

The poor man's wealth, the prisoner's release, 
Th' indifferent judge between the high and low. 

Sir Philip Sidney. 



A NEW POETICAL ANTHOLOGY. 173 

SLEEP (continued). 

sleep, it is a gentle thing, 

Beloved from pole to pole ! 
To Mary queen the praise be given, 
She sent the gentle sleep from heaven 

That slid into my soul. — S. T. Coleridge. 

gentle sleep ! do they belong to thee, 

Those twinklings of oblivion ? Thon dost love 
To sit in meekness, like the brooding dove, 

A captive never wishing to be free ! 

Wordsworth. 

SMILE. 

A smile that glowed 
Celestial rosy red, love's proper hue. — Milton. 

She spoke it with a smile 
That seemed at once to pity and revile. — Cowley. 

What charms has sorrow in that face ? 

Sorrow seems pleased to dwell with so much sweetness ; 

Yet now and then a melancholy smile 

Breaks out, like lightning in a winter's night, 

And shows a moment's day. — Dryden. 

While her laugh, full of life, without any control 

But the sweet one of gracefulness, rung from her soul ; 

But where it most sparkled no glance could discover, 

In lip, cheek, or eyes, for she brightened all over, — 

Like any fair lake that the breeze is upon, 

When it breaks into dimples and laughs in the sun. 

T. Moore. 

SOLDIER. 

Rude am I in my speech, 
And little blessed with the set phrase of peace ; 
For since these arms of mine had seven years' pith, 



174 A HANDBOOK OF POETRY. 

SOLDIER {continued). 

Till now, some nine moons wasted, they have used 
Their dearest action in the tented field ; 
And little of this great world can I speak 
More than pertains to feats of broil and battle. 

Shakspeare. 

A leader seemed 
Each warrior single as in chief, expert 
When to advance, to stand, or turn the sway 
Of battle ; open when, and when to close 
The vigour of grim war : no thought of flight, 
None of retreat ; no unbecoming deed 
That argued fear ; each on himself relied, 
As only in his arm the moment lay 
Of victory. Milton. 

He in the battle had a thirsty sword, 

And well 'twas glutted there. Dryden. 

The life which others pay, let us bestow, 

And give to fame what we to nature owe. 

Brave, though we fall, and honoured if we live, 

Or let us glory gain, or glory give. Pope. 

Night closed around the conqueror's way, 

And lightnings showed the distant hill, 
Where those who lost that dreadful day 

Stood few and faint, but fearless still. 
The soldier's hope, the patriot's zeal, 

For ever dimmed, for ever crost : 
Oh ! who shall say what heroes feel 

When all but life and honour's lost ! 

T. Moore. 

And there was mounting in hot haste : the steed, 
The mustering squadron, and the clattering car, 

Went pouring forward with impetuous speed, 
And swiftly forming in the ranks of war ; 



A XEW POETICAL AXTEOLOGT. 175 

SOLDIER {continued). 

And the deep thunder peal on peal afar ; 

And near, the beat of the alarming dram 
Roused up the soldier ere the morning star ; 
While thronged the citizens with terror dumb, 
Or -whispering, with white lips — " The foe ! they come ! 
they come!" Byron. 

SPRIXG. 

Fled now the sullen murmurs of the north, 

The splendid raiment of the spring peeps forth ; 

Her universal green, and the clear sky, 

Delight still more and more the gazing eye. 

Wide o'er the fields, in rising moisture strong, 

Shoots up the simple flower, or creeps along 

The mellowed soil ; imbibing fairer hues, 

Or sweets from frequent showers and evening dews ; 

That summon from tbeir sheds the slumbering ploughs, 

While health impregnates every breeze that blows. 

Robert Bloo^leld. 



"When spring makes equal day, 
When western winds on curling waters play; 
"When painted meads produce their flowery crops, 
And swallows twitter on the chimney-tops. 

Drydex 



In that soft season, when descending showers 
Call forth the greens, and wake the rising flowers 
When opening buds salute the welcome day, 
And earth, relenting, feels the genial ray. — Pope. 



When the wind blows in the sweet rose tree, 
And the cow lows on the fragrant lea, 
And the stream flows all bright and free, 
"Pis not for thee, 'tis not for me, 

'Tis not for any one here, I trow : 



176 A HANDBOOK OF POETRY. 

SPRING {continued). 

The gentle wind bloweth, 
The happy cow loweth, 
The merry stream floweth, 

For all below ! 
the spring, the bountiful spring ! 
She shineth and smileth on every thing. 

Barry Cornwall. 

The pleasant spring, the joyous spring ! 

His course is onward now ; 
He comes with sunlight on his wing, 

And beauty on his brow ; 
His impulse thrills through rill and flood, 

And throbs along the main, — 
'Tis stirring in the waking wood, 

And trembling o'er the plain. 

Cornelius "Webbe. 

The spring is here — the delicate-footed May, 

"With its slight fingers full of leaves and flowers, 
And with it comes a thirst to be away 

In lovelier scenes to pass these sweeter hours, 
A feeling like the worm's awakening wings, 
Wild for companionship with swifter things. 

Willis. 
Welcome sweet season of delight ; 
What beauties charm the wond'ring sight 

In thy enchanting reign ! 
How fresh descends the morning dew, 
While opening flowers of various hue 

Bedeck the sprightly plain. 

Elizabeth Bentley. 

The love-thrilling hedge-birds are wild with delight ; 

Like arrows loud whistling the swallows flit by ; 
The rapturous lark, as he soars out of sight, 

Sends us sun-lighted melody down from the sky. 
In the air that they quaff, all the feathery throng 
Taste the spirit of spring that outbursts in a song. 

Horace Smith. 



A NEW POETICAL ANTHOLOGY. 177 

SPRING {continued). 

When early primroses appear, 

And vales are decked with daffodils, 
I hail the new-reviving year, 

And soothing hope my bosom fills. 
The lambkin bleating on the plain, 

The swallow, seen with gladdened eye, 
The welcome cuckoo's merry strain, 

Proclaim the joyful summer nigh. — Williams. 

Welcome ! all hail to thee ! welcome, young Spring ! 
Thy sun-ray is bright on the butterfly's wing; 
Beauty shines forth in the blossom-robed trees ; 
Fragrance floats by on the soft southern breeze ; 
Music, sweet music, sounds over the earth : 
One glad choral song greets the primrose's birth ; 
The lark soars above, with his shrill matin strain ; 
The shepherd-boy tunes his reed-pipe on the plain. 

Eliza Cook. 

Come, gentle Spring, ethereal mildness, come ; 
And from the bosom of yon dropping cloud, 
While music wakes around, veiled in a shower 
Of shadowing roses, on our plains descend. 

Thomson. 
STABS. 

There is no light in earth or heaven 

But the cold light of the stars ; 
And the first watch of night is given 

To the red planet Mars. — Longfellow. 

The gems of heaven, that gild night's sable throne. 

Dryden. 

Morning Star. 

Fairest of stars, last of the train of night ! 

If better thou belong not to the dawn ; 

Sure pledge of day, that crown'st the smiling morn 

With thy bright circlet. Milton. 



178- A HANDBOOK OF POETRY. 

STABS (continued). 

Evening Stae. 

Bright Hesperus, that leads the starry train, 

Whose office is to bring 

Twilight upon the earth : short arbiter 

'Twixt day and night. Milton. 



No cloud obscures the summer sky, 
The moon in brightness walks on high, 
And, set in azure, every star 
Shines a pure gem of heaven afar. 

Mrs. Hemans. 



Oh, who can witness with a careless eye 

The countless lamps that light an evening sky, 

And not be struck with wonder at the sight ! 
To think what mighty power must there abound, 

That burns each spangle with a steady light, 
And guides each hanging world its rolling round ? 

John Clare. 



Ye many twinkling stars, who yet do hold 
Your brilliant places in the sable vault 
Of night's dominions ! planets, and central orbs 
Of other systems : big as the burning sun 
Which lights this nether globe ; yet to our eye 
Small as the glowworm's lamp. 

Kirke White. 



They glide upon their endless way, 

For ever calm, for ever bright ; 
Ko blind hurry, no delay, 

Mark the daughters of the night : 
They follow in the track of day 

In divine delight. Barry Cornwall. 



A NEW POETICAL ANTHOLOGY. 179 

STARS (continued). 

Glide on in your beauty, ye youthful spheres, 
To weave the dance that measures the years ; 
Glide on, in the glory and gladness sent 
To the furthest wall of the firmament, 
The boundless visible smile of Him, 
To the veil of whose brow our lamps are dim. 

Bryant. 



Shine out, stars ! let heaven assemble 

Round us every festal ray ; 
Lights that move not, lights that tremble, 

All to grace this eve of May. T. Moore. 



Lo ! in the painted oriel of the west, 

Whose panes the sunken sun incarnadines, 
Like a fair lady at her casement shines 

The evening star, the star of love and rest ! 

And then anon she doth herself divest 
Of all her radiant garments, and reclines 
Beyond the solemn screen of yonder pines, 

With slumber and soft dreams of love oppressed. 

my beloved, my sweet Hesperus ! 

My morning and my evening star of love ! 

My best and gentlest lady, even thus, 
As that fair planet in the sky above, 

Dost thou retire unto thy rest at night, 

And from thy darkened window fades the light ! 

Longfellow. 



Stars ! ever bright and placid stars, 

Meek fires, resplendent dew ! 
How vain the dream that earthly jars 

Have ministers in you ! 
Yet who e'er gazed, and long withstood 
Such dreams of fancied brotherhood ? 

Miss Jewsbtjry (Mrs. Fletcher). 
n 2 



180 A HANDBOOK OF POETRY. 

STEAM.— STEAM-ENGINE. 

The vaporous power, whose close-pent breath, 
Potent alike and prompt to great or small, 
Now rives the firm- set rock, now deigns to point 
The needle's viewless sting ; now drains the bed 
Of mighty rivers, or the tide of ocean ; 
Now weaves the gossamer of silken robe, 
Beauty's fantastic tissue, iris-tinged, 
That floats with every breeze. Wilks. 

Motions and means, on land and sea at war 
With old poetic feeling, not for this 
Shall ye, by poets even, be judged amiss ! 

Nor shall your presence, howsoe'er it mar 

The loveliness of nature, prove a bar 

To the mind's gaining that pathetic sense 

Of future change, that point of wisdom, whence 

May be discovered what in soul ye are. 

In spite of all that beauty may disown 

In your harsh features, nature doth embrace 

Her lawful offspring in man's art; and time, 

Pleased with the triumphs o'er his brother space, 

Accepts from your bold hands the proffered crown 

Of hope, and smiles on you with cheer sublime. 

Wordsworth. 
STORM. 

And this is in the night. Most glorious night ! 

Thou wert not sent for slumber ! Let me be 
A sharer in thy fierce and far delight, 

A portion of the tempest and of thee ! 

How the lit lake shines, a phosphoric sea, 
And the big rain comes dancing to the earth ! 

And now again 'tis black, — and now, the glee 
Of the loud hills shakes with its mountain-mirth, 
As if they did rejoice o'er a young earthquake's birth. 

Byron. 

Either tropic now 
'Gan thunder: at both ends of heaven the clouds, 
From many a horrid rift abortive, poured 
fierce rain with lightning mixed — water with fire 



A NEW P OETICA L A NTHOLOG Y. 1 81 

STORM (continued). 

In ruin reconciled. Dreadful was the rack, 

As earth and sky would mingle. Nor yet slept the 

winds 
Within their stony caves, but rushed abroad 
From the four hinges of the world, and fell 
On the vexed wilderness, whose tallest pines, 
Though rooted deep as high and sturdiest oaks, 
Bowed their stiff necks, loaden with stormy blasts, 
Or torn up sheer. Milton. 

STREAM. 

So the pure limpid stream, when foul with stains 
Of rushing torrents and descending rains, 
Works itself clear, and, as_ it runs, refines, 
Till by degrees the crystal mirror shines ; 
Reflects each flower that on its border grows, 
And a new heaven in its fair bosom shows. 

Addison. 

The innocent stream, as it in silence goes, 
Fresh honours and a sudden spring bestows, 
On both its banks, to every flower and tree. 

Cowley. 

Flow on, rejoice, make music, 

Bright living stream set free ! 
The troubled haunts of care and strife 

Were not for thee ! Mrs. Hemans. 

SUMMER. 

'Tis June, 'tis merry smiling June, 

'Tis blushing summer now ; 
The rose is red — the bloom is dead — 

The fruit is on the bough. 
Flora with Ceres, hand in hand, 

Bring all their smiling train ; 
The yellow corn is waving high, 

To gild the earth again. Eliza Cook. 



182 A HANDBOOK OF POETRY. 

SUMMER {continued). 

From brightening fields of ether fair disclosed, 

Child of the snn, refulgent Summer comes, 

In pride of youth, and felt through Nature's depth : 

He comes attended by the sultry hours, 

And ever-fanning breezes, on his way ; 

"While, from his ardent look, the turning Spring 

Averts her blushful face ; and earth and skies, 

All smiling, to his hot dominion leaves. — Thomson. 

Summer now unfolds her scenes ; 
Beauteous flowers, vernal greens, 
Break upon our ravished sight, 
Nature's wonders, with delight. 

Bichard Taylor. 

Now each tree, by summer crowned, 
Sheds its own rich twilight round ! 
Glancing there from sun to shade, 

Bright wings play ; 
There the deer its couch hath made — 
Come away ! 
Where the smooth leaves of the lime 
Glisten in their honey-time — 

Come away — away ! — Mrs. Hemans. 



SUN. 



The golden sun, in splendour likest heaven, 
(Aloof the vulgar constellations thick, 
That from his lordly eye keep distance due) 
Dispenses light from far. They, as they move 
Their starry dance, in numbers that compute 
Days, months, and years, tow'rds his all-cheering 

lamp 
Turn swift their various motions, or are turned 
By his magnetic beam, that gently warms 
The universe ; and to each inward part, 
"With gentle penetration, though unseen, 
Shoots invisible virtue, even to the deep. 

Milton. 



A NEW POETICAL ANTHOLOGY. 183 

SUN (continued). 

And now from forth, the chambers of the main, 
To shed his sacred light on earth again, 
Arose the golden chariot of the day, 
And tipt the mountains with a purple ray. 

Pope. 

sun ! of this great world both eye and soul. 

Milton. 

The sun comes forth ; each mountain height 

Glows with a tinge of rosy light ; 

The flowers, that slumbered through the night, 

Their dewy leaves unfold : 
A flood of splendour bursts on high, 
And ocean's breast gives back a sky 

All steeped in molten gold. Mrs. Hemans. 

Now, flaming up the heavens, the potent sun 
Melts into limpid air the high-raised clouds 
And morning fogs, that hovered round the hills 
In party-coloured bands, till wide unveiled 
The face of nature shines, from where earth seems, 
Far stretched around, to meet the bending sphere. 

Thomson. 

Phoebus ! down the western sky, 

Far hence diffuse thy burning ray ; 
Thy light to distant worlds supply, 
And wake them to the cares of day. 

Johnson. 
SWALLOW. 

The swallows, privileged above the rest 

Of all the birds, as man's familiar guest, 

Pursue the sun in summer brisk and bold, 

But wisely shun the persecuting cold. 

When frowning skies begin to change their cheer, 

And time turns up the wrong side of the year, 

They seek a better heaven and warmer climes. 

D.RYDEN. 



184 A HANDBOOK OF POETRY. 

SWALLOW {continued). 

She comes in the spring, all the summer she stays, 
And, dreading the cold, still follows the sun ; 

So, true to our love, we should covet his rays, 
And the place where he shines not, immediately shun. 

Cowper. 

swallow, swallow ! flying, flying south, 
Fly to her, and fall upon her gilded eaves, 
And tell her, tell her what I tell to thee. 
swallow, swallow ! if I could follow, and light 
Upon her lattice, I would pipe and trill, 
And chirp and twitter twenty million loves. 

Tennyson. 



SWAN. 



The silver swans sail down the watery road, 
And graze the floating herbage of the flood. 

Dryden. 

The sickening swan thus hangs her silver wings, 
And, as she droops, her elegy she sings. — Garth. 



Let beeves and homebred kine partake 

The sweets of Burn-mill meadow ; 
The swan on still St. Mary's lake 

Floats double — swan and shadow. 

Wordsworth. 

The wild swan's death-hymn took the soul 

Of that wild place with joy 
Hidden in sorrow: at first to the ear 
The warble was low and full and clear; 

And floating about the under sky, 
Prevailing in weakness, the coronach stole 
Sometimes afar and sometimes anear ; 

But anon her awful jubilant voice, 
"With a music strange and manifold, 
Flowed forth on a carol free and bold. — Tennyson. 



A NEW POETICAL ANTHOLOGY. 185 

8 WAN (continued). 

A solitary swan her breast of snow 
Launches against the wave, that seems to freeze, 
Into a chaste reflection, still below, 
Twin-shadow of herself wherever she may go. 

T. Hood. 

TEARS. 

Thy heart is big ; get thee apart and weep : 
Passion I see is catching ; for my eyes, 
Seeing those beads of sorrow stand in thine, 
Begin to water. Shakspeare. 

He thrice essayed to speak, and thrice, in spite of scorn, 
Tears, such as angels weep, burst forth ; at last 
Words interwove with sighs found out their way. 

Milton. 

Mine is a grief of fury, not despair ; 
And if a manly drop or two fall down, 
It scalds my cheeks ; like a green wood 
That, sputtering in the flames, works Outward into 
tears. Dryden. 

The April's in her eyes ; it is love's spring, 
And these the showers to bring it on. 

Shakspeare. 

Tears, idle tears, I know not what they mean ; 
Tears, from the depth of some divine despair, 
Rise in the heart, and gather to the eyes, 
In looking on the happy autumn fields, 
And thinking of the days that are no more. 

Tennyson. 

Too oft is a smile but the hypocrite's wile, 

To mask detestation or fear ; 
Give me the soft sigh, while the soul-telling eye 

Is dimmed for a time with a tear. Byron. 



186 A HANDBOOK OF POETRY. 

TEABS (continued). 

The tear down childhood's cheek that flows 

Is like the dewdrop on the rose ; 

When next the summer breeze comes by, 

It waves the bush, the flower is dry. Scott. 

THANKS. 

. With what becoming thanks can I reply ? 
Not only words lie labouring in my breast, 
But thought itself is by thy praise oppressed. 

DltYDEN. 

Let my tears thank you, for I cannot speak ; 

And if I could, 
Words were not made to vent such thoughts as mine. 

Dryden. 



Words would but wrong the gratitude I owe you. 

Otway. 

TIME. 

Oh, Time ! the beautifier of the dead, 

Adorner of the ruin, comforter 
And only healer when the heart hath bled ; 

Time! the corrector when our judgments err; 
The test of truth, love — sole philosopher, 

For all beside are sophists — from thy thrift, 
Which never loses though it doth defer ; 

Time, the avenger ! unto thee I lift 
My hands, and eyes, and heart, and crave of thee a gift. 

Byron. • 

The lapse of time and rivers is the same ; 

Both speed their journey with a restless stream ; 

The silent pace with which they steal away, 

No wealth can bribe, no prayers persuade to stay : 

Alike irrevocable both when past, 

And a wide ocean swallows both at last. — Cowper. 



A NEW POETICAL ANTHOLOGY. 187 

TIME (continued). 

Time speeds away — away — away : 

No eagle through the skies of day, 

No wind along the hills, can flee 

So swiftly or so smooth as he. Knox. 

Inexorable king ! thy sway 

Is fixed on firm but cruel might : 
It rolls indeed the radiant day, 

But sinks it soon in deepest night ; 
It bids the little flow'ret spring, 
But while it waves its elfin wing, 

Its fleeting glories go ; 
It suffers hope to dance awhile, 
Nursing the fondling's fatal smile, 

That tears may faster flow ; 
And only bids fair beauty bloom, 
At last to blast it in the tomb. — Henry Neele. 



Oh ! never chide the wing of time, 

Or say 'tis tardy in its flight ! 
You'll find the days speed quick enough, 

If you but husband them aright. 

Eliza Cook. 

TO-MORROW. 

Seek not to know- to-morrow's doom; 
That is not ours which is to come ! 
The present moment's all our store, 

The next should heaven allow, 
Then this will be no more : 

So all our life is but one instant — now ! 

CoNGREVE. 

We are not sure to-morrow will be ours ; 
Wars have, like love, their favourable hours : 
Let us use all, for if we lose one day, 
The white one in the crowd may slip away. 

Dryden. 



188 A HANDBOOK OF POETRY. 

TO-MORROW (continued). 

Happy the man, and happy he alone, 

He who can call to-day his own ! 

He who, secure within, can say, 

To-morrow do thy worst, for I have lived to-day. 

Dryden. 

The hoary fool, who many days 

Has struggled with continued sorrow, 
Renews his hopes, and blindly lays 

The desperate bet upon to-morrow : 
To-morrow comes, — 'tis noon, — 'tis night ; 

This day like all the former fled ; 
Yet on he runs to seek delight 

To-morrow, 'till to-night he's dead. — Prior. 

Live, live to-day : to-morrow never yet 

On any human being rose or set. — Marsden. 

Where art thou, beloved to-morrow ? 

When young and old, and strong and weak, 
Rich and poor, through joy and sorrow, 

Thy sweet smiles we ever seek, — 
In thy place — ah ! well-a-day ! — 
We find the thing we fled — To-day. — Shelley. 

" To-morrow I will live ," the fool doth say; 
To-day itself 's too late'; the wise lived yesterday. 

Cowley. 



TREES. 



Up with your heads, ye sylvan lords, 

Wave proudly in the breeze ; 
For our cradle bands and coffin boards, 

Must come from the forest trees. 
We bless you for your summer shade, 

When our weak limbs fail and tire ; 
Our thanks are due for your winter aid, 

When we pile the bright log fire. 

Eliza Cook. 



A NEW POETICAL ANTHOLOGY. 189 

TREES (continued). 

Trees, gracious trees ! how rich a gift ye are, 
Crown of the earth ! to human hearts and eyes 

How doth the thought of home, in lands afar, 

Linked with your forms and kindly whisperings rise ! 

Mrs. Hemans. 

I feel at times a motion of despite 

Towards one whose bold contrivances and skill, 

As you have seen, bear such conspicuous part 

In works of havoc ; taking from these vales, 

One after one, their proudest ornaments. 

Full oft his doings leave me to deplore 

Tall ash-tree, sown by winds, by vapours nursed 

In the dry crannies of the pendant rocks ; 

Light birch, aloft upon the horizon's edge 

A veil of glory for the ascending moon ; 

And oak, whose roots by moontide dew were damped, 

And on whose forehead inaccessible 

The raven lodged in safety. Wordsworth. 

TWILIGHT. {See Evening.) 

I love thee, twilight ! as thy shadows roll, 

The calm of evening steals upon my soul, 

Sublimely tender, solemnly serene, 

Still as the hour, enchanting as the scene. 

I love thee, twilight, for thy gleams impart 

Their dear, their dying influence to my heart, 

When o'er the harp of thought thy passing wind 

Awakens all the music of the mind, 

And joy and sorrow, as the spirit burns, 

And hope and memory sweep the chords by turns. 

James Montgomery. 

The twilight star to heaven, 
And the summer dew to flowers, 

And rest to us, is given 
By the cool soft evening hours. 

Mrs. Hemans. 



190 A HANDBOOK OF POETRY, 

VIOLET. 

A violet, by a mossy stone 

Half hidden from the eye, 
Fair as a star, when only one 
Is shining in the sky. Wordsworth. 

She comes, the first, the fairest thing 
That heaven upon the earth doth fling, 

Ere winter's star has set ; 
She dwells behind her leafy screen, 
And gives, as angels give, unseen ; 

So, love — the violet. — Barry Cornwall. 



Sweet tiny flower of darkly hue, 
Lone dweller in the pathless shade ; 

How much I love thy pensive blue 

Of innocence so well displayed. — John Clare. 

Yiolets, sweet tenants of the shade, 
In purple's richest pride arrayed, 

Tour errand here fulfil ; 
Go, bid the artist's simple stain 
Tour lustre imitate in vain, 

And match your Maker's skill. 

John Clare;. 



The colour from the flower is gone, 

Which like thy sweet eyes smiled on me ; 

The odour from the flower is flown, 
Which breathed of thee, and only thee. 

Shelley. 



WELCOME. 

'Tis sweet to hear the watch-dog's honest bark 

Bay deep-mouthed welcome as we draw near home ; 

'Tis sweet to know there is an eye will mark 
Our coming, and look brighter when we come ; 



A NEW POETICAL ANTHOLOGY. 191 

WELCOME {continued). 

'Tis sweet to be awakened by the lark, 

Or lulled by falling waters ; sweet the hum 

Of bees, the voice of girls, the song of birds, 
The lisp of children, and their earliest words. 

Byron. 



Sweet is the hour that brings us home, 

Where all will spring to meet us ; 
Where hands are striving, as we come, 

To be the first to greet us. Eliza Cook. 



Welcome as kindly showers to long parched earth. 

Dryden. 

Welcome as happy tidings after fears. — Otway. 



WIND.— WINDS. 

sweet south wind ! 
Long hast thou lingered midst those islands fair, 
Which he enchanted on the Indian deep, 
Like sea-maids, all asleep, 
Charmed by the cloudless sun and azure air ! 

sweetest southern wind ! 
Pause here awhile, and gently now unbind 
Thy dark rose- crowned hair. — Barry Cornwall. 



Awful your power, when by your might 
You heave the wild waves, crested white, 

Like mountains in your wrath ; 
Ploughing between them valleys deep, 
Which, to the seaman roused from sleep, 

Yawn like death's opening path. 

Bernard Barton. 



192 A HANDBOOK OF POETRY. 

WIND {continued). 

Oh, many a voice is thine, thou Wind ! full many a 

voice is thine, 
From every scene thy wing o'ersweeps thou bear'st a 

sound and sign ; 
A minstrel wild and strong thou art, with a mastery 

all thine own, 
And the spirit is thy harp, Wind! that gives the 

answering tone. Mrs. Hemans. 

WILD FLOWERS. {See Flowers.) 

Scorn not those rude unlovely things, 

All cultureless that grow, 
And rank o'er woods and wilds and springs 

Their vain luxuriance throw. 
Eternal Love and Wisdom drew 

The plan of earth and skies; 
And He the span of heaven that threw 

Commands the weeds to rise. J. F. Smith. 

Ye field flowers ! the gardens eclipse you, 'tis true, 
Yet, wildlings of nature, I doat upon you, 

For ye waft me to summers of old, 
When the earth teemed around me with fairy delight, 
And when daisies and buttercups gladdened the sight 

Like treasures of silver and gold. 

Campbell. 

Beautiful objects of the wild bee's love ! 

The wild bird joys your opening bloom to see, 
And in your native woods and wilds to be ; 

All hearts, to nature true, ye strangely move ; 
Ye are so passing fair — so passing free : 

I love ye all. Robert iSTicoll. 

Along the sunny bank or watery mead, 

Ten thousand stalks their various blossoms spread: 

Peaceful and lovely, in their native soil, 

They neither know to spin nor care to toil, 

Yet, with confessed magnificence, deride 

Our vile attire and impotence of pride. — Prior. 



A NEW POETICAL ANTHOLOGY. 193 

WILD FLOWERS {continued). 

Through primrose tufts, in that sweet bower, 
The periwinkle trailed its wreaths ; 

And 'tis my faith that every flower 
Enjoys the air it breathes. — Wordsworth. 



God loveth all his creatures, 

Doth bless them hour by hour ; 
Then will he not of man take heed, 
Who so much beauty hath decreed 

Unto the wayside flower ? — Mary Howitt. 



WINTER. 



When raging storms deform the air, 

And clouds of snow descend, 
And the wide landscape bright and fair 

In deepened shadows blend. 
When biting frost rides on the wind, 

Bleak from the north and east, 
And wealth is at its ease reclined, 

Prepared to laugh and feast ; 
Then let the bounteous hand extend 

Its blessings to the poor, 
Nor spurn the wretched as they bend 

All suppliant at your door. — Anon. 



In rich men's halls the fire is piled, 

And furry robes keep out the weather ; 
In poor men's huts the fire is low, 
Through broken panes the keen winds blow, 
And old and young are cold together. 

Mary Howitt. 



Dread winter spreads his latest glooms, 
And reigns tremendous o'er the conquered year. 

Thomson. 



194 A HANDBOOK OF POETRY. 

WINTER {continued). 

The mill-wheel's frozen in the stream, 

The church is decked with holly, 
Mistletoe hangs from the kitchen beam 

To fright away melancholy ; 
Icicles clink in the milkmaid's pail, 

Younkers skate on the pool below, 
Blackbirds perch on the garden rail, 

And hark, how the cold winds blow ! 

Horace Smith. 

The wintry west extends his blast, 

And hail and rain does blow, 
Or the stormy north sends driving forth 

The blinding sleet and snow ; 
While, tumbling brown, the burn comes down, 

And roars frae bank to brae ; 
The bird and beast in covert rest, 

And pass the heartless day. Burns. 



Dear boy, throw that icicle down, 

And sweep this deep snow from the door ; 
Old Winter comes on with a frown, 

A terrible frown for the poor. 
In a season so rude and forlorn, 

How can age, how can infancy bear 
The silent neglect and the scorn 

Of those who have plenty to spare ? 

BOBERT BLOOMFIELD. 



Since now no fragrant blossoms blow, 
And desolation sweeps the ground, 

Come, winter ! teach me how to draw 
A moral from the ruins round. — Sanderson. 



WOMAN. 



O woman ! lovely woman ! nature made you 

To temper man ; we had been brutes without you. 

Angels are painted fair to look like you. 



A NEW POETICAL ANTHOLOGY. 195 

WOMAN (continued). 

There's in you all that we believe of heaven; 
Amazing brightness, purity, and. truth, 
Eternal joy, and everlasting love. Otway. 

In infancy, a tender flower, 

Cultivate her ! 
A floating bark, in girlhood's hour, 

Softly freight her ! 
When woman grown, a fruitful vine, 

Tend and press her ! 
A sacred charge, in life's decline, 

Shield and bless her !— W. T. Moncrieff. 



She was a phantom of delight 
When first she gleamed upon my sight ; 
A lovely apparition, sent 
To be a moment's ornament. 
Her eyes as stars of twilight fair ; 
Like twilight, too, her dusky hair ; 
But all things else about her drawn 
From May-time and the cheerful dawn ! 
A dancing shape, an image gay, 
To haunt, to startle, and waylay. 

Wordsworth. 



O woman ! in our hours of ease, 

Uncertain, coy, and hard to please, 

And variable as the shade 

By the light quivering aspen made, — - 

When pain and anguish wring the brow, 

A ministering angel thou ! Scott. 



Formed in benevolence of na/ture, 

Obliging, modest, gay, and mild, 

Woman's the same endearing creature, 

In courtly town and savage wild. 

Mrs. Barbattld. 
o 2 



196 A HANDBOOK OF POETRY. 

WOMAN {continued). 

Follow a shadow, it still flies you ; 

Seem to fly it, it will pursue : 
So court a mistress, she denies you ; 

Let her alone, she will court you. 
Say, are not women truly, then, 
Styled but the shadows of us men ? 

Ben Jonson. 



WORDS. 

Words are like leaves, and where they most abound, 
Much fruit of sense beneath is rarely found. — Pope. 



Words are but pictures of our thoughts. — Dhyden. 



His words, replete with guile, 
Into her heart too easy entrance won. — Milton. 



Teach me, some power, that happy art of speech, 
To dress my purpose up in gracious words ; 
Such as may softly steal upon her soul, 
And never waken the tempestuous passions. — Eowe. 

You have, by Fortune and his highness' favours, 
Gone slightly o'er low steps, and now are mounted 
Where powers are your retainers ; and your words, 
Domestics to you, serve your will, as 't please 
Yourself pronounce their office. — Shakspeare. 



A 

CONCISE DICTIONARY 



OF 



PROPER RHYMES 




OBSERVATIONS AND INSTRUCTIONS. 

DICTIONARY of Rhymes should never be 
consulted by an author unless he finds himself at 
an absolute standstill for a rhyme ; to habituate 
himself to writing with it under his eye would 
give a stiffness to his composition which it is desirable 
that poetry should not possess. It is in comic and satirical 
verse, where a greater number of words are available, 
that it will be found to be the most useful, as a new or 
unthought of rhyme will frequently suggest a new idea. 

All rhymes proceed from the vowels A, E, I, 0, U, and 
may be obtained by running over in the mind the words in 
which they are the dominant. Thus, to find " Persuade," 
and the words that rhyme with it, take " ade," and then 
run through " ade " with the consonant that precedes it, 
as, — 

Bade — which suggests " forbade." 

Cade. 

Dade — which you reject, being no word. 

Eade — which you reject. 

Fade. 

Gade — which you reject. 

Hade — which suggests " aid." 

Jade. 

Kade — which you reject. 



198 A HANDBOOK OF POETRY. 

Lade — which suggests " "blade," " slayed." 

Made — which suggests " maid." 

Nade — which suggests " neighed." 

Oade — which you reject. 

Pade — which suggests " paid." 

Qade — which you reject. 

Bade — which suggests " raid," " trade," " degrade," 
" betrayed." 

Sade — which suggests " said." 

Tade — which suggests " rodomontade." 

Uade — which you reject. 

Yade — which suggests " pervade," " invade," &c. 

"Wade — which suggests " weighed." 
If neither of the rhymes in " ade " suit, in the like way 
run through " aid," which will give you the words, as 
" suggested " above. 

In consulting the dictionary for a rhyme, consider, in 
the like way, the vowel that precedes the last consonant 
of the word, and, if the word end in two or more conso- 
nants, then begin with the vowel that immediately pre- 
cedes the first of them. For example, Land : n is the 
first of the final consonants, a the vowel that precedes it. 
Turn to And, and you will find band, grand, stand, &c. 

Many words ending in ty, my, ate, ance, ence, ness, &c, 
which have not their accent on the last syllable, are used 
indiscriminately by our best poets to rhyme with the 
simple sounds sigh, fate, chance, sense, bless, &c. ; this, 
however, can only be regarded as a sacrifice of sound to 
sense. The words are given in the following pages, but 
such deviations from strict rule should be indulged in as 
sparingly as possible. 

For such words as ought not to form terminals, as well 
as to remarks on the formation of double and treble 
rhymes, the reader is referred to the chapter on Rhymes 
at the beginning of the Handbook. 



RHYMES. 



AB 


disgrace 


blab 


displace 


cab 


efface 


crab 


embrace 


dab 


enchase 


drab 


grimace 


mab 


misplace 


nab 


preface 


scab 


retrace 


stab 


interlace 


ABE 


AOH 


babe 


attach 




detach 


ACE 


(See ATCH.; 


base 




brace 


ACK 


case 


back 


chace 


black 


dace 


brack 


face 


clack 


grace 


crack 


lace 


hack 


mace 


jack 


pace 


knack 


place 


lack 


race 


pack 


space 


qnack 


trace 


rack 


abase 


sack 


apace 


slack 


debase 


smack 


deface 


snack 



stack 

tack 

thwack 

track 

wrack 

arrack 

attack 

ACT 
act 
fact 
pact 
tract 
abstract 
attract 
compact 
contract 
detract 
distract 
enact 
exact 
extract 
protract 
react 
refract 
subact 
subtract 
transact 
cataract 
counteract 
and the participles 

of the verbs in 

ACK 



200 



A HANDBOOK OF POETRY. 



AD 


cascade 


safe 


add 


cockade 


unsafe 


bad 


comrade 


vouchsafe 


bade 


crusade 




cad 


decade 


AFF 


chad 


degrade 


chaff 


clad 


dissuade 


draff 


dad 


evade 


gaff 


fad 


gambade 


graff 


gad 


grenade 


laugh 


glad 


invade 


quaff 


had 


parade 


staff 


lad 


persuade 


distaff 


mad 


pervade 


tipstaff 


pad 
sad 

ADE 


pomade 
unlade 
upbraid 
ambassade 


cenotaph 

epitaph 

paragraph 


aid 


ambuscade 


AFT 


blade 


balustrade 


aft 


braid 


barricade 


craft 


cade 


bastinade 


daft 


fade 


cannonade 


draft 


glade 


cavalcade 


draught 


jade 
lade 


colonnade. 


graft 
haft 


enfilade 


made 


escalade 


laughed 


maid 


lemonade 


raft 


neighed 


marmalade 


shaft 


raid 


masquerade 


waft 


said 


palisade 


abaft 


shade 


renegade 


ingraft 


spade 


retrograde 


priestcraft 


trade 


serenade 


witchcraft 


wade 


rodomontade 


handicraft 


weighed 


and the participles 


and the participles 


afraid 


of the verbs in AY, 


of the verbs in 


arcade 


EY, and EIGH. 


AFF and AUGH. 


blockade 






brigade 


AFE 


AG 


brocade 


chafe 


bag 



A DICTIONARY OF PROPER RHYMES. 



201 



brag 
cag 
crag 
drag 



J a g 



nag 
rag 



shag 
slag 
snag 
stag 
swag 



AGE 



cage 



mage 
page 
rage 



stage 
swage 



engage 
enrage 
presage 
appanage 
re 



equipage 

heritage 

hermitage 



patronage 

personage 

pilgrimage 

villanage 

concubinage 

AID, see ADE. 

AI&HT,, ATE. 

AIGtfr „ ANE. 



ail 

ale 

bail 

bale 

dale 

fail 

frail 

gale 

hail 

hale 

jail 

mail 

male 

nail 

pail 

pale 

quail 

rail 

sail 

sale 

scale 

snail 

stale 

tale 

trail 

vail 

vale 



AIL 



veil 

wail 

whale 

assail 

avail 

bewail 

curtail 

detail 

entail 

exhale 

impale 

prevail 

regale 

retail 

wassail 

countervail 

nightingale 

AIM, see AME. 



AIN 



am 

bane 

blain 

brain 

cane 

chain 

crane 

deign 

drain 

fain 

feign 

gain 

grain 

lain 

lane 

main 

mane 

pain 

plain 

plane 



202 



A HANDBOOK OF POETRY. 



rain 


profane 


AKI 


reign 


quatrain 


ache 


rein 


refrain 


ake 


slain 


regain 


bake 


sprain 


remain 


brake 


stain 


restrain 


break 


strain 


retain 


cake 


swain 


sextain 


drake 


train 


sustain 


flake 


twain 


unchain 


hake 


vain 


ungain 


lake 


vein 
wain 


appertain 
castelain 


make 
quake 


wane 


entertain 


rake 


abstain 


porcelain 


sake 

shake 

slake 


amain 
arraign 


legerdemain 


attain 
bestain 


AINT 

faint 


snake 
spake 


boatswain 


feint 


stake 

take 

wake 


campaign 
champagne 


paint 
plaint 
quaint 
saint 


cockswain 


awake 


complain 


bespake 


constrain 


taint 


betake 


contain 


teint 


earthquake 


demain 




forsake 


detain 
disdain 


acquaint 
attaint 


mandrake 
mistake 


distrain 
domain 
enchain 


complaint 
constraint 
distraint 


namesake 

partake 

retake 


engrain 


restraint 


sweepstake 


explain 


AIB,- see ABE. 


overtake 


maintain 




undertake 


mortmain 


AISE | AZE. 




murrain 






obtain 


AIT „ ATE. 


AL 


ordain 
pearmain 


AITH „ ATH. 


shall 
cabal 


pertain 


AIZE „ AZE. 


canal 



A DICTIONARY OF PROPER RHYMES. 



203 



admiral 

animal 

arsenal 

cannibal 

capital 

cardinal 

carnival 

comical 

conjugal 

corporal 

critical 

festival 

funeral 

general 

hospital 

interval 

literal 

madrigal 

magical 

musical 

mystical 

natural 

original 

pastoral 

pedestal 

personal 

physical 

principal 

prodigal 

rational 

several 

temporal 

tragical 

whimsical 

poetical 

political 

prophetical 

reciprocal 

rhetorical 

satirical 

tyrannical 



There are many 


awl 


words with this ter- 


ball 


mination, but as 


bawl 


they are mostly ad- 


call 


jectives, and not ac- 


caul 


cented on the final 


crawl 


syllable, it is need- 


fall 


less to insert them; 


gall 


indeed, the three 


hall 


first words in this 


pall 


list are the only le- 


scrawl 


gitimate rhymes in 


small 


AL. 


sprawl 


ALD 

bald 
scald 


squall 
stall 
tall 
thrall 


herald 


wall 


piebald 
ribald 


appal 
befall 


emerald 


enthral 


and the participles of 


forestall 


the verbs in ALL. 


install 




miscall 


ALE, see AIL. 


recall 


ALF 
calf 


ALM 

balm 
calm 


nan 


palm 


benalt 

1C 


psalm 


mooncalf 


qualm 


ALK 


shalm 


balk 


becalm 


calk 


embalm 


chalk 


Alms rhymes to 
the plurals of the 


stalk 


talk 


nouns and 3rd per- 


walk 


sons present of the 


ALL 


verbs of this termi- 


all 


nation. 



204 



A HANDBOOK OF POETRY. 



ALT 



alt 

fault 

halt 

malt 

salt 

shalt 

smalt 

vault 

assault 

default 

exalt 



ALYE 



calve 

carve 

salve 

starve 

halve 



AM 



am 

cram 

dam 

dram 

ham 

ram 

swam 

beldam 

grandam 

madam 

mill-dam 

undam 

anagram 

epigram 



AME 



aim 
blame 
came 
claim 



dame 


ban 


fame 


can 


flame 


clan 


frame 


dan 


game 
name 


fan 


'gan 


lame 


man 


maim 


pan 


name 


ran 


same 


scan 


shame 


span 


tame 


swan 


acclaim 


tan 


became 


wan 


declaim 


began 


defame 


foreran 


disclaim 


sedan 


exclaim 


trepan 


inflame 


unman 


misname 


artisan 


proclaim 


caravan 


reclaim 


courtesan 


misbecame 


harridan 


overcame 


partisan 


AMP 


pelican 
suburban 


camp 
champ 


ANCE 


clamp 
cramp 


chance 
dance 


damp 


glance 


lamp 


lance 


ramp 


prance 


stamp 


trance 


swamp 


advance 


vamp 


askance 


decamp 
encamp 


durance 
enhance 
entrance 


AN 


expanse 


an 


finance 



A DICTIONARY OF PROPER RHYMES. 



205 



mischance 

arrogance 

circumstance 

complaisance 

concordance 

consonance 

countenance 

dissonance 

ignorance 

ordinance 

sustenance 

temperance 

utterance 

vigilance 

deliverance 

extravagance 

intemperance 

ANCH 
blanch 
branch, 
haunch 
launch 
paunch 
ranch 
staunch 



AND 



and 

band 

bland 

brand 

gland 

grand 

hand 

land 

rand 

sand 

stand 

strand 

wand 



command 

demand 

disband 

errand 

expand 

gainstand 

headland 

inland 

countermand 

reprimand 

understand 

ANG 



clang 

fang 

gang 

hang 

pang 

rang 

sang 

slang 

sprang 

tang 

twang 

harangue 
overhang 

ANGE 
change 
grange 
mange 
range 



arrange 
estrange 
exchange 
interchange 

ANK 

bank 



blank 

clank 

crank 

dank 

drank 

flank 

frank 

hank 

lank 

plank 

prank 

rank 

sank 

shank 

shrank 

stank 

tank 

thank 

twank 

disrank 

pickthank 

mountebank 

ANSE,seeANCE. 



ANT 



ant 

can't 

cant 

chant 

grant 

pant 

plant 

rant 

scant 

slant 

aslant 

decant 

descant 

displant 

enchant 



206 



A HANDBOOK OF POETRY. 



gallant 


vigilant 


i wrap 


implant 


visitant 


enwrap 


recant 


cohabitant 


entrap 


transplant 


communicant 


kidnap 


adamant 


concomitant 


madcap 


adjutant 


exorbitant 


mishap 


alterant 


extravagant 


APE 


appellant 


exuberant 


arrogant 


inhabitant 


ape 


combatant 


intolerant 


cape 


complaisant 


itinerant 


chape 


confidant 


participant 


crape 


consonant 


precipitant 


drape 


conversant 


predominant 


gape. 


cormorant 


protuberant 


grape 


covenant 


refrigerant 


nape 


disenchant 


reverberant 


rape 


disputant 


significant 


scape 


dissonant 
dominant 


insignificant 


scrape 
shape 


elegant 


AP 


tape 


elephant 


cap 


agape 


generant 


chap 


escape 


ignorant 
iterant 


clap 
crap 


landscape 


litigant 


flap 


APH, see AFF. 


mendicant 


gap 




militant 


hap 


APSE 


occupant 


knap 


lapse 


operant 


lap 


collapse 


petulant 


map 


elapse 


predicant 
Protestant 


nap 


perhaps 


pap 


relapse 


recant 


rap 


and the plural of 


relevant 


sap 


the nouns, and 3rd 


resonant 


scrap 


person present of 


ruminant 


slap 


the verbs in AP. 


suppliant 


snap 




supplicant 


strap 


APT 


sycophant 


tap 


apt 


termagant 


trap 


capt 



A DICTIONARY OP PROPER RHYMES. 



207 



chapt 
rapt 
adapt 
cloudcapt 
enrapt 
unapt 

and the participles 
of the verbs in AP. scarce 



AEB 

barb 
garb 
rhubarb 



farce 



AECE 



are 
bar 



AR 



far 

gnar 

jar 

mar 

par 

spar 

star 

tar 

war 

afar 

catarrh 

debar 

lazar 

loadstar 

unbar 

angular 

calendar 

popular 

regular 

scimitar 

secular 

singular 

titular 

vinegar 

particular 

perpendicular 



poniard 

regard 

renard 

retard 

scabbard 

sluggard 

tabard 

tankard 
and the plural of disregard 
nouns and 3rd per- interlard 
son present^ the an a. the participles 
of the verbs in AR. 



verbs in AR. 



ARCH 
arch 
larch 
march 
parch 
starch 
countermarch 

ARD 

bard 

card 

guard 

hard 

lard 

marr'd 

nard 

pard 

shard 

yard 

bombard 

discard 

drunkard 

dullard 

haggard 

mallard 

niggard 

orchard 

pollard 



ARE 



air 

aire 

bare 

bear 

blare 

care 

chair 

dare 

e'er 

fair 

fare 

flare 

glare 

hair 

hare 

heir 

knare 

lair 

mare 

nare 

ne'er 

pair 

pare 

pear 

rare 

scare 

share 



208 



A HANDBOOK OF POETRY. 



snare 

spare 

square 

stair 

stare 

swear 

tare 

tear 

their 

there 

ware 

wear 

where 

aware 

beware 

coheir 

compare 

declare 

elsewhere 

ensnare 

forbear 

forswear 

howe'er 

impair 

prepare 

repair 

threadbare 

welfare 

whate'er 

whene'er 

where'er 

ARF 
dwarf 
scarf 
wharf 
{See AFF.) 

ARGE 



large 

marge 

targe 

discharge 

enlarge 

recharge 

surcharge 

overcharge 



ARK 



ark 

bark 

cark 

chark 

dark 

dark 

hark 

lark 

mark 

park 

sark 

shark 

spark 

stark 

embark 

impark 

remark 



ARL 



gnarl 
marl 
snarl 



ARM 



charge 



arm 

barm 

charm 

farm 

harm 

alarm 

disarm 



ARN 
barn 
darn 
tarn 
yarn 

ARP 

carp 

harp 

scarp 

sharp 

warp 

counterscarp 



ARSH 



harsh 
marsh 



ART 



art 

cart 

chart 

dart 

hart 

heart 

mart 

part 

quart 

smart 

start 

swart 

tart 

thwart 

wart 

apart 

athwart 

braggart 

compart 

depart 

dispart 

impart 



A DICTIONARY OF PROPER RHYMES. 



2C9 



placart 

sweetheart ash 

rampart cash 

couuterpart clash 

crash 
AETH, clash 

see EAETH. flash 



AEYE, seeALVE. 



ASH 



AS and ASS 



brass 
class 
gas 
glass 



gl'E 

has 



lass 
mass 



jnash 

hash 

lash 

mash 

plash 

rash 

sash 

slash 



swash 

thrash 

trash 

quash 

wash 



was 

alas 

amass 

arras 

atlas 

cuirass 

lammas 

morass 

repass 

surpass 

candlemas 

Christmas 

copperas 

embarrass 

martinmas 

michaelmas 

ASE, see ACE 

and AZE. 



bedash 
calash 

balderdash 
ASK 



cask 



mask 

task 

damask 



ASP 



asp 
clasp 
gasp 
grasp 



rasp 
wasp 

AST 
blast 
cast 
fast 
hast 
last 
mast 
past 
vast 
aghast 
avast 
contrast 
forecast 
outcast 
repast 
overcast 
paraphrast 
and the participles 

of the verbs in 

ASS. 

ASTE 
baste 
chaste 
haste 
paste 
taste 
waist 
waste 

distaste 

foretaste 

unchaste 

and the participles 

of the verbs in 

ACE. 



AT 



at 



210 



A HANDBOOK OF POETRY. 



bat 

brat 

cat 

cbat 

fat 

flat 

gnat 

hat 

mat 

pat 

plat 

rat 

spat 

sprat 

that 

vat 

ATCH 
batch 
catch 
cratch 
hatch 
latch 
match 
patch 
ratch 
scratch 
slatch 
smatch 
snatch 
swatch 
thatch 
watch 
despatch 
dispatch 



ATE 



ait 

ate 

bait 

bate 

date 



eight 

fate 

freight 

gate 

grate 

great 

hate 

late 

mate 

pate 

plait 

plate 

prate 

rate 

sate 

skate 

slate 

state 

straight 

strait 

wait 

weight 

abate 

alate 

belate 

collate 

create 

debate 

dilate 

elate 

estate 

ingrate 

inmate 

rebate 

relate 

sedate 

translate 

abdicate 
abrogate 
accurate 



adequate 

advocate 

aggravate 

agitate 

alienate 

antedate 

antiqnate 

arbitrate 

calculate 

candidate 

captivate 

celebrate 

celibate 

circulate 

congregate 

consecrate 

consulate 

cultivate 

dedicate 

delegate 

delicate 

deprecate 

derogate 

desperate 

dislocate 

dissipate 

educate 

elevate 

emulate 

estimate 

extricate 

fortunate 

generate 

gratulate 

hesitate 

imitate 

imprecate 

innovate 

instigate 

intimate 

intricate 



A DICTIONARY OF PROPER RHYMES. 



211 



irritate 


confederate 


premeditate 


magistrate 


congratulate 


prevaricate 


mediate 


considerate 


procrastinate 


mitigate 


contaminate 


recriminate 


moderate 


co-operate 


regenerate 


nominate 


corroborate 


reiterate 


obstinate 


debilitate 


reverberate 


passionate 


degenerate 


sophisticate 


penetrate 


deliberate 


subordinate 


personate 


denominate 


unfortunate 


potentate 


depopulate 


There are nearly a 


propagate 


disconsolate 


thousand words 


regnlate 


discriminate 


with this termina- 


reprobate 


effeminate 


tion ; the most im- 


ruminate 


elaborate 


portant only are 


separate 


equivocate 


given, as the stu- 


stipulate 


eradicate 


dent can scarcely 
be in want of a 


subjugate 


evaporate 


suffocate 


exaggerate 


rhyme. 


temperate 


exasperate 




terminate 


expostulate 


ATH 


tolerate 


exterminate 


bath 


vindicate 


facilitate 


lath 


violate 


illiterate 


path 


abominate 


illuminate 


rath 


accelerate 


immoderate 


wrath 


accommodate 


importunate 


aftermath 


accumulate 


inanimate 




adulterate 


intemperate 


ATHE 


affectionate 


intimidate 


bathe 


annihilate 


intoxicate 


lathe 


anticipate 
articulate 


invalidate 


rathe 


inveterate 


scathe 


assassinate 


inviolate 


swathe 


capacitate 
capitulate 


legitimate 
necessitate 


AUB, see OB. 


coagulate 


participate 


AUCE „ AUSE. 


commemorate 
commiserate 


perpetuate 
precipitate 


AUCH „ OACH. 


communicate 


predestinate 


AUD 


compassionate 


predominate 


broad 

p 2 



212 



A HANDBOOK OF POETRY. 



fraud 


ATTGHT, 


awe 


laud 


see OUGHT. 


caw 


aboard 
abroad 


AULT, see ALT. 


chaw 
claw 


applaud 


AUNCH 


craw 
daw 
draw 
flaw 


defraud 


haunch 


and the participles launch 


oftheverbsinAW. 


. paunch 


gnaw 
haw 


AYE 


staunch 


brave 


AUNSE, 


jaw 


cave 


see (MSE. 


law 


crave 




maw 


drave 


AUOT 


paw 


gave 


aunt 


pshaw 


glave 
grave 
have 


daunt 


raw 


flaunt 


saw 


gaunt 


shaw 


knave 


haunt 


spa 


lave 


jaunt 


straw 


nave 


taunt 


thaw 


pave 


vaunt 


taw 


rave 


avaunt 


bashaw 


save 




foresaw 


shave 


AUSE 


kickshaw 


slave 


cause 


macaw 


stave 


claws 


outlaw 


thrave 


clause 


withdraw 


trave 


gauze 




wave 


pause 


AWD, se 


behave 


applause 




bondslave 


because 


AWK ,; 


conclave 


and the plurals of , ,„,. 


deprave 


the nouns and 3rd 


[ AVYIj „ 


engrave 


person present of A T1 


forgave 


the verbs in AW. 


brawn 


misgave 
outbrave 


AUST, see OST. 


dawn 
drawn 


architrave 


AW 


fawn 


AUGH, see AFF. 


aw 


gnawn 



ALK. 
ALL. 



A DICTIONARY OF PROPER RHYMES. 



213 



lawn 

pawn 

prawn 

spawn 

yawn 

withdrawn 
AX 

axe 

flax 

lax 

tacks 

tax 

wax 

climax 

relax 

and the plurals of 
the nouns and 3rd 
person plural of the 
verbs in ACK. 



slay 

spray 

stay 

sway 

they 

tray 

way 

affray 

allay 

array 

assay 



AY 



bay 

bray 

clay 

day 

dray 

lay 

i ay 

fray 
gay 
grey 
hay 

jay 

lay 

may 

neigh 

pay 

play 

pray 

prey 

ray 



away 

belay 

betray 

bewray 

convey 

decay 

defray 

delay 

dismay 

display 



forelay 

gainsay 

inlay 

inveigh 

obey 

purvey 

relay 

repay 

survey 



disarray 

disobey 

roundelay 



AZE 



craze 
days 
daze 
gaze 
glaze 
maize 



phrase 

praise 

raise 

rays 

raze 



baize 
blaze 



rs 

amaze 

dispraise 

emblaze 

paraphase 

and the plurals of 
the nouns and 3rd 
person present of 
the verbs in AY, 
EIGH, and EY. 

E and EA, see EE. 
EACE, see EASE. 

EACH 

beach 

beech 

bleach 

breach 

breech 

each 

leach 

leech 

peach 

preach 

reach 



214 



A HANDBOOK OF POETRY. 



teach 


squeak 


stealth 


appeach 


steak 


wealth 


beseech 


streak 


commonwealth 


impeach 
misteach 


weak 
week 


EAM 


overreach 


wreak 


beam 




bespeak 


bream 


E AD, see EDE and oblique 

EED ' EAL 


cream 
deem 
dream 


EAF, see IEF. 


deal 


fleam 




eel 


gleam 


EAGUE 


feel 
heal 
heel 
keel 
kneel 


phlegm 


brigue 
league 
colleague 


ream 
scheme 
scream 
seam 


fatigue 


meal 


seem 


intrigue 


peal 


steam 


EAK 


peel 


stream 


beak 


real 


team 


bleak 


reel 


teem 


cheek 


leal 


theme 


creek 


steal 


beseem 


creak 
eke 


steel 
squeal 


blaspheme 
esteem 


freak 


teal 


extreme 


gleak 


veal 
weal 
wheel 
zeal 


foredeem 


Greek 
leak 


misdeem 
redeem 


leek 


supreme 


meek 


anneal 


disesteem 


peak 


appeal 




pique 


conceal 


EAN 


reek 


congeal 


bean 


screak 


repeal 


been 


seek 


reveal 


clean 


shriek 
sleek 


EALM, see ELM. 


dean 
glean 


sneak 


EALTH 


green 


speak 


health 


keen 



A DICTIONARY OF PROPER RHYMES. 



215 



lean 




perch 




release 


mean 




search 




frontispiece 


mien 




smirch 






queen 




research 




EASH, see ESH. 


screen 








EAST 


seen 




EAEL 


beast 


spleen 




churl 




east 


wean 




curl 




feast 


yean 




earl 




least 


between 




furl 




lest 


careen 




girl 




priest 


convene 




hurl 




yeast 


demesne 
foreseen 




pearl 
purl 




and the participles 
of the verbs in 


machine 




twirl 




EASE. 


obscene 




whirl 






serene 








EAT 


terrene 




EARN see 


ERK 


beat 


unclean 








bleat 


intervene 




EARSE „ 


JcjRfeE 


. cheat 
eat 


magazine 




EART „ 


ART. 


feat 


EANS, see ENSE. 


EARTH 


feet 
fleet 


EANT „ 


ENT. 


birth 
dearth 




gleet 
greet 


EAP see 


EEP 


earth 




heat 




and EP 


• hearth 
mirth 




meat 
meet 


EAK, see 


EER„ 






mete 






EASE 


neat 


EARE 


cease 




peat 


beard 




fleece 




pleat 


rhymes with the ge^ 6 




seat 


participles of the g rease 




sheet 


verbs in 


EER. 


lease 
niece 




sleet 
street 


EARCJ 


peace 




sweet 


birch 




piece 




treat 


church 




decease 




teat 


lurch 




increase 




wheat 



216 



A HANDBOOK OF POETRY. 



complete 

conceit 

concrete 

deceit 

defeat 

discreet 

escheat 

estreat 

intreat 

replete 

retreat 

counterfeit 

obsolete 

EATH 
breath 
death 

EATHE 
breathe 
seethe 
sheath 
wreath 
bequeath 
enwreath 

EAYE 
cleave 
eve 
grieve 
heave 
leave 
lieve 
reve 
sleeve 
thieve 
weave 
achieve 
aggrieve 
believe 



conceive 


deject 


deceive 


detect 


perceive 


direct 


receive 


dissect 


relieve 


effect 


reprieve 


eject 


retrieve 


elect 


disbelieve 


erect 




expect 


EB 


inject 


bleb 


insect 


ebb 


inspect 


neb 


neglect 


web 


object 




perfect 


EBE 


prefect 


glebe 


project 


• 


prospect 


ECK 


protect 


beck 


refect 


check 


reflect 


deck 


reject 


fleck 


respect 


neck 


select 


peck 


subject 


reck 


suspect 


speck 


traject 


wreck 


architect 


rebeck 


circumspect 


redeck 


dialect 


EOT 
sect 


disaffect 
disrespect 




imperfect 


abject 


incorrect 


affect 


indirect 


aspect 
collect 


intellect 


intersect 


confect 


recollect 


couject 
correct 


retrospect 


deflect 


and the participle 



A DICTIONARY OF PROPER RHYMES. 



217 



of the verbs in 
ECK. 



ED 



bed 

bled 

bread 

bred 

dead 

dread 

fed 

fled 



lead 

led 

read 

red 

said 

shed 

shred 

slead 

sled 



rhymes, and it is see 
not necessary to she 
insert them ; for thee 
a specimen, take three 
pichled with im- tree 
bred. we 

EDE, see EED. wee 
agree 

EDGE alee 

dredge decree 



hedge 
ledge 
pledge 



allege 

knowledge 

privilege 



spread 

stead 

thread 

tread 

wed 

abed 

ahead 

behead 

imbred 

instead 

misled 

maidenhead 

overspread 

Walker gives a 
large number of 
words as rhymes 
ending in " ed," 
but they are not 



sortilege 



be 

bee 

fee 

flea 

flee 

free 

glee 

he 

key 

knee 

lea 

lee 

me 

pea 

plea 

quay 



EE 



foresee 

fusee 

grantee 

settee 

trustee 

absentee 

appellee 

assignee 

devotee 

jubilee 

mortgagee 

obligee 

oversee 

patentee 

pedigree 

referee 

refugee 

EECE, see EASE, 
EECH „ EACH. 



EED 



bead 

bleed 

breed 

creed 

deed 

feed 

freed 



218 



A HANDBOOK OF POETRY. 



greed 
heed 




heap 




keep 


knead 




leap 


lead 




neap 


mead 




peep 


meed 




reap 


need 




sheep 


plead 




sleep 


read 




steep 


reed 




sweep 


seed 




weep 


speed 




asleep 


steed 




insteep 


weed 






agreed 




] 


concede 




beer 


exceed 




bier 


impede 




blear 


implead 




cheer 


indeed 




clear 


misdeed 




dear 


mislead 




deer 


precede 




drear 


proceed 




ear 


succeed 




fear 


supersede 


gear 
hear 


EEF, see 


ilEE. 


here 
jeer 


EEK „ 


EAK. 


lear 
leer 


EEL „ 


EAL. 


meer 
mere 


EEM „ 


EAM. 


near 
5>eer 


EE1ST „ 


EAN". 


pier 
queer 


EE1 


rear 


cheap 




sear 


creep 




seer 


deep 




slear 



EEjai 



smear 

spear 

sphere 

shear 

steer 

tear 

tier 

tweer 

veer 

year 

adhere 

appear 

arrear 

austere 

besmear 

career 

cashier 

cohere 

compeer 

endear 

revere 

severe 

sincere 

uprear 

veneer 

auctioneer 

bombardier 

cavalier 

chandelier 

chanticleer 

charioteer 

chevalier 

disappear 

domineer 

engineer 

garreteer 

gazeteer 

grenadier 

halberdier 

hemisphere 



A DICTIONARY OF PROPER RHYMES. 



219 



interfere 

mountaineer 

muleteer 

musketeer 

mutineer 

overseer 

pamphleteer 

persevere 

pioneer 

privateer 

scrutineer 

volunteer 



wheeze 

appease 

disease 

displease 

and the plurals of 
the nouns and 3rd 
person present of 
the verbs in EE. 



EIB, see ABK. 
EIT „ ATE. 
EIYE „ EAYE. 
EIZE „ EEZE. 



deaf 



EF 



EFT 



jh-ejoxu, saa shsiiLiSh 


' cleft 


EET „ EAT 


deft 




heft 


EETH 


left 


heath 


reft 


sheath 


theft 


smeeth 


weft 


teeth 


bereft 


wreath 




beneath 


EG 


underneath 


beg 
dreg 
• egg 


EEYE, see EAYE 


EEZE 


keg 
leg 
peg 


breeze 


ease 




freeze 
frieze 


EIGH, see AY. 


grease 


EIGHT „ AIT and 


lease 


ATE. 


pease 




please 


EIGN „ AIK 


seize 
sneeze 


EIL „ AIL. 


squeeze 


EIN „ AIN. 


teaze 




these 


EINT „ AIKT. 



bell 

cell 

dell 

dwell 

ell 

fell 

heU 

knell 

quell 

seU 

shell 

smell 

spell 

swell 

teh 

well 

yell 

befeU 

compel 

dispel 

excel 

expel 

foretell 

impel 

rebel 

repel 

resell 

citadel 

infidel 

parallel 

sentinel 



ELL 



ELD 



eld 



220 



A HANDBOOK OF POETRY. 



geld 
held 
weld 
beheld 
upheld 
withheld 

and the participles 
of the verbs in EL. 



pelt 
smelt 
swelt 
welt 



ELYE 



ELF 



elf 

delf 

pelf 

self 

shelf 

herself 

himself 



ELK 



elk 
whelk 



ELM 
elm 
helm 
realm 
whelm 
overwhelm 



help 

whelp 

yelp 

belt 

Celt 

dealt 

felt 

knelt 

melt 



ELP 



ELT 



delve 
helve 
twelve 

ELYES 

elves 

themselves 

and the plurals of 
the nonns in ELF, 
and 3rd person pre- 
sent of the verbs in 
ELYE. 

EM 
gem 
hem 
stem 
them 
diadem 
stratagem 

EME, see EAM. 

■ EM1ST 
condemn 
contemn 

EMPT 
tempt 
attempt 
contempt 
exempt 



EN 



Ben 



den 

fen 

glen 

hen 

ken 

men 

pen 

ten 

then 

wen 

when 

wren 

again 

denizen 

ENCE 
dense 
fence 
hence 
sense 
thence 
whence 
commence 
condense 
defence 
dispense 
expense 
immense 
incense 
intense 
offence 
prepense 
pretence 
propense 
suspense 
conference 
confidence 
consequence 
continence 
difference 
diffidence 



A DICTIONARY OF PROPER RHYMES. 221 



diligence 

eloquence 

eminence 

evidence 

excellence 

frankincense 

impotence 

impudence 

indigence 

indolence 

inference 

innocence 

negligence 

penitence 

preference 

providence 

recompense 

reference 

residence 

reverence 

vehemence 

violence 

benevolence 

circumference 

concupiscence 

impenitence 

impertinence 

improvidence 

incontinence 

indifference 

intelligence 

magnificence 

omnipotence 

and the plurals of 
the nouns and 3rd 
person present of 
the verbs in EN. 



drench 

French 

quench 

stench 

tench 

trench 

wench 

wrench 

intrench 

retrench 



END 



bench 
clench 



ENCH 



bend 

blend 

end 

fend 

friend 

lend 

mend 

rend 

send 

spend 

tend 

trend 

vend 

wend 

amend 

ascend 

attend 

befriend 

commend 

compend 

contend 

depend 

descend 

distend 

expend 

extend 

foresend 

impend 

intend 



misspend 
obtend 
offend 
portend 
pretend 
suspend 
transcend 
unbend 
apprehend 
comprehend 
condescend 
discommend 
dividend 
recommend 
reprehend 
reverend 

and the participles 
of the verbs in EN. 

ENE, see EAN. 

ENGE 
avenge 
revenge 

ENGTH 

length 
strength 

ENSE, see ENCE, 



bent 

blent 

cent 

dent 

gent 

Kent 

lent 

meant 

pent 



ENT 



222 



A HANDBOOK OF POETRY. 



rent 

scent 

sent 

spent 

sprent 

tent 

vent 

went 

absent 
accent 
anent 
ascent 



attent 

cement 

consent 

content 

descent 

dissent 

event 

extent 

ferment 

foment 

frequent 

indent 

intent 

invent 

lament 

misspent 

ostent 

outwent 

o'er spent 

present 

prevent 

relent 

repent 

resent 

unbent 

abstinent 
accident 



aliment 

argument 

banishment 

battlement 

blandishment 

circumvent 

chastisement 

competent 

compliment 

confident 

continent 

corpulent 

detriment 

different 

diffident 

diligent 

discontent 

document 

eloquent 

eminent 

evident 

excellent 

excrement 

exigent 

firmament 

fraudulent 

government 

imminent 

implement 

impotent 

impudent 

incident 

indigent 

innocent 

insolent 

instrument 

languishment 

ligament 

malcontent 

management 

monument 



nourishment 

nutriment 

Occident 

opulent 

parliament 

penitent 

permanent 

pertinent 

president 

prevalent 

provident 

punishment 

ravishment 

redolent 

regiment 

represent 

resident 

rudiment 

sacrament 

sediment 

sentiment 

subsequent 

supplement 

tenement 

testament 

turbulent 

underwent 

vehement 

violent 

virulent 

accomplishment 

acknowledgment 

admonishment 

arbitrament 

armipotent 

astonishment 

bellipotent 

benevolent 

disparagement 

embellishment 

equivalent 



A DICTIONARY OF PROPER RHYMES. 



223 



establishment 

experiment 

impenitent 

impertinent 

imprisonment 

improvident 

incompetent 

incontinent 

indifferent 

intelligent 

lineament 

magnificent 

omnipotent 

temperament 

EP 
nep 
step 
step 
footstep 
instep 
parsnep 

EPT 

wept 

accept 

except 

intercept 

and the participles 
of the verbs in EP 
and some of the 
verbs in EEP. 



ER 



blnr 

bur 

cur 

err 

fir 

fur 

her 

sir 



slur 
spur 
stir 

aver 

bestir 

concur 

confer 

defer 

demur 

deter 

incur 

infer 

inter 

prefer 

refer 

transfer 

arbiter 

canister 

character 

chorister 

cottager 

dowager 

flatterer 

forager 

foreigner 

gardener 

grasshopper 

harbinger 

islander 

lavender 

lawgiver 

loiterer 

mariner 

massacre 



minister 

murderer 

officer 

passenger 

pillager 



presbyter 

provender 

register 

sepulchre 

slanderer 

sophister 

sorcerer 

theatre 

thunderer 

traveller 

usurer 

villager 

voyager 

waggoner 

administer 

astrologer 

astronomer 

idolater 

interpreter 

philosopher 

amphitheatre 

EEB, see UEB. 

ERCH „ EAECH. 
EltC^E ,, Exiioiii. 



bird 

curd 

gird 

herd 

swerd 

third 

word 

absurd 

begird 

engird 

goatherd 

jailbird 



EED 



224 



A HANDBOOK OF POETRY. 



neatherd 


excern 


shepherd 


inurn 


swineherd 


nocturn 




return 


ERE, see EER. 


sojourn 


ERGrE 


overturn 


dirge 


ERM, see IRM, 


gurge 




purge 


ERSE 


scourge 


burse 


serge 


curse 


sperge 


hearse 


surge 


nurse 


urge 


terse 


verge 


verse 


virge 


worse 


absterge 


absterse 


converge 


accurse 


deterge 


adverse 


diverge 


amerce 


emerge 


asperse 


immerge 


averse 




coerce 


ERN 


commerce 


burn 


converse 


churn 


disburse 


dern 


disperse 


earn 


diverse 


fern 


imburse 


hern (heron) 


immerse 


kern 


obverse 


learn 


perverse 


spurn 


precurse 


stern 


rehearse 


turn 


reverse 


urn 


subverse 


yearn 


transverse 


adjourn 


traverse 


concern 


universe 


discern 


intersperse 



ERT 

birt 

blurt 

curt 

dirt 

flirt 

girt 

hurt 

pert 

shirt 

skirt 

spurt 

squirt 

vert 

wart 

wert 

advert 

alert 

assert 

astert 

avert 

concert 

convert 

desert 

dessert 

divert 

expert 

insert 

invert 

obvert 

overt 

revert 

subvert 

pervert 

ungirt 

unhurt 

contravert 

intervert 



ERVE 



curve 



A DICTIONARY OF PROPER RHYMES. 



225 



nerve 

serve 

swerve 

asserve 

conserve 

deserve 

disserve 

observe 

preserve 

reserve 

subserve 



ESS 



Bess 



chess 

cress 

dress 

guess 

jess 

less 

mess 

ness 

press 

sess 

stress 

yes 

abscess 

access 

address 

aggress 



caress 

compress 

confess 

depress 

digress 

distress 



express 



profess 


hollowness 


redress 


idleness 


repress 


lawfulness 


success 


laziness 


transgress 


littleness 


unless 


liveliness 


acquiesce 
adulteress 


loftiness 
loveliness 


bashfulness 


lowliness 


bitterness 


manliness 


cheerfulness 


masterless 


comeliness 


mightiness 


comfortless 


motherless 


diocess 


motionless 


dispossess 


nakedness 


dizziness 


neediness 


drowsiness 


ne'ertheless 


drunkenness 


noisomeness 


eagerness 


numberless 


easiness 


patroness 


emptiness 


peevishness 


evenness 


pitiless 


fatherless 


poetess 


filthiness 


prophetess 


foolishness 


ransomless 


forwardness 


readiness 


frowardness 


righteousness 


fruitfulness 


shepherdess 


fulsomeness 


sorceress 


gentleness 


sordidness 


giddiness 


spiritless 


godliness 


sprightliness 


goodliness 


steadiness 


governess 


sturdiness 


greediness 


surliness 


happiness 


tenderness 


haughtiness 


thoughtfulness 


heaviness 


ugliness 


heinousness 


usefulness 


hoariness 


votaress 


holiness 


wakefulness 



226 



A HANDBOOK OF POETRY, 



wantonness 


lest 


weaponless 


nest 


weariness 


pest 


wickedness 


quest 


wilderness 


rest 


willingness 


test 


wretchedness 


vest 


embassadress 


west 


forgetfulness 


zest 


uneasiness 


abreast 


unhappiness 


acquest 


lasciviousness 


arrest 


perfidiousness 


attest 




behest 


ESE, see EEZE. 


bequest 


ESH 


congest 


flesh 


confest 


fresh 


contest 


mesh 


detest 


nesh 


digest 


plesh 


divest 


thresh 


imprest 


afresh 


incest 


refresh 


infest 




inquest 


ESK 


invest 


desk 


molest 


burlesque 


obtest 


grotesque 


protest 


picturesque 


request 

revest 


EST 


suggest 


best 


unrest 


breast 
chest 


interest 
manifest 


crest 




drest 


and the participles 


gest 

guest 

hest 


of the verbs in 

ESS. 


ET 


jest 


ate 



bet 

debt 

fret 

get 

jet 

let 

met 

net 

pet 

set 

spet 

sweat 

threat 

wet 

whet 

yet 

abet 

arret 

beget 

beset 

cadet 

coquet 

forget 

piquet 

regret 

alphabet 

amulet 

anchoret 

cabinet 

coronet 

epithet 

parapet 

rivulet 

violet 

ETCH 
fetch 
sketch 
stretch 
wretch 

ETE, see EAT. 



A DICTIONARY OF PROPER RHYMES. 



227 



EYE, see EAYE. 


spew 


interview 




strew 


residue 


EUM „ UME. 


sue 
threw 


EX 




through 


sex 
vex 


EW 


too 


blew 


true 


annex 


blue 


view 


complex 


brew 
chew 


yew 
you 


convex 
perplex 


clew 


who 


circumflex 


clue 


woo 


and the plurals of 


coo 


accrue 


the nouns and 3rd 


crew 


adieu 


person present of 


cue 


ado 


the verbs in EOK. 


do 


alloo 




drew 


anew 


EXT 


due 


askew 


next 


ew 


bamboo 


pretext 


ewe 


bedew 


and the participles 


few 


beshrew 


of the verbs in EX. 


flew 


curfew 




glue 


curlew 


EY, see AY. 


grew 


emmew 


IB 

bib 

crib 

drib 

fib 

gib 

glib 

nib 

quib 

rib 


new 


enchew 


hue 
Jew 


endue 
ensue 


Kew 


eschew 


knew 


halloo 


loo 


imbrue 


mew 


imbue 


new 


indue 


pew 


perdue 


screw 


purlieu 


squib 


scrue 


pursue 


sew 


renew 


IBE 


shew 


review 


bribe 


shoe 


subdue 


gibe 


shoo 


tattoo 


kibe 


shrew 


undo 


scribe 


so 


withdrew 


tribe 



Q 2 



228 



A HANDBOOK OF POETRY. 



ascribe 


paradise 


interdict 


describe 


precipice 


and the participles 


imbibe 


prejudice 


of the verbs in 


inscribe 


sacrifice 


ICK. 


prescribe 
proscribe 


ICH, see ITCH. 


ID 

bid 
chid 
hid 
kid 


rescribe 

subscribe 

transcribe 


ICK 

brick 
chick 


circumscribe 


click 


lid 


interscribe 


crick 


'mid 


superscribe 


kick 


quid 


ICE 


lick 


rid 


bice 
dice 
ice 


nick 
pick 
prick 


forbid 
pyramid 


grice 


quick 


IDE 


lice 


sick 


bide 


mice 


slick 


bride 


nice 
price 


stick 

thick 

tick 

trick 

wick 


chide 
died 


rice 
slice 
spice 


dyed 
glide 
guide 


thrice 


asthmatic 


hide 


trice 


catholic 


nide 


twice 


choleric 


pied 


vice 


heretic 


pride 


advice 


politic 


ride 


concise 


rhetoric 


side 


device 


schismatic 


slide 


entice 


arithmetic 


stride 


suffice 




tide 


artifice 


IOT 


wide 


avarice 


strict 


abide 


benefice 


addict 


aside 


cicatrice 


afflict 


astride 


cockatrice 


convict 


beside 


edifice 


inflict 


bestride 


orifice 


contradict 


betide 



A DICTIONARY OF PROPER RHYMES. 



229 



bye 
cry 
die 
dry 
dye 
eye 
fie 

% 
fry 

hie 

high 

He 

lye 

my 

nigh 

pie 

pry 
rye 
shie 
shy 
sigh 

which rhyme to the g u 
plurals of the nouns s \j 
and 3rd person pre- g py 
sent of the verbs in s ^y 

thigh 
tie 



confide 

decide 

deride 

divide 

inside 

misguide 

preside 

provide 

subside 

coincide 

fratricide 

homicide 

matricide 

parricide 

regicide 

suicide 

infanticide 



IDES 



besides 



IDE. 



IDGE 

bridge 
midge 
ridge 
abridge 

IDST 

didst 
midst 
amidst 



IE or Y 



? 



try 

vie 

why 

ally 

awry 

belie 

comply 

decry 

defy 

deny 

descry 



imply 



outfly 

outvie 

rely 

reply 

supply 

untie 

agony 

amplify 

anarchy 

apathy 

armoury 

artery 

augury 

battery 

beautify 

beggary 

bigamy 

blasphemy 

bravery 

brevity 

bribery 

calumny 

canopy 

cavalry 

certainty 

certify 

charity 

chastity 

chemistry 

chivalry 

clemency 

colony 

comedy 

company 

constancy 

contrary 

courtesy 

crucify 

cruelty 

custody 

decency 



230 



A HANDBOOK OF POETRY. 



deify 

deity 

destiny 

diary 

dignify 

dignity 

drapery 

drollery 

drudgery 

ecstasy 

edify 



enemy 

energy 

enmity 

equity 

factory 

faculty 

fallacy 

falsify 

falsity 

family 

fealty 

finery 

flattery 

fortify 

gaiety 

galaxy 

gallantry 

gallery 

glorify 

gluttony 

granary 

gratify 

gravity 

harmony 



history 
honesty 
husbandry 



industry 
infamy 
infancy 
infantry 
injury 
jollity 
justify 
knavery- 
laity 
legacy 
lenity 
leprosy 
lethargy 
liberty 
library 
livery- 
lottery 
loyalty 
lunacy 
luxury 
magnify 
majesty 
malady 
melody 
memory 
misery 
modesty 
modify 
mollify 
monarchy 
mortify 
mutiny 
nicety 
novelty 
nursery- 
pacify 
perfidy 
perjury 
penalty 
penury 
petrify 



piety 
pillory 
piracy 
pleurisy 
policy 
poesy 
poetry 
poverty 
privacy 
privity 
probity 
prodigy 
progeny 
property 
prophecy 
purify 
putrify 
qualify 
quality- 
quantity 
raillery 
rarity 
ratify 
rectify 
regency 
remedy 
ribaldry 
robbery 
rosemary 
salary 
sanctify 
sanctity 
satisfy 
scarcity 
scarify 
scrutiny 
secrecy 
signify 
simony 
slavery 
sorcery 



A DICTIONARY OF PROPER RHYMES. 



231 



specify 
stupefy 



symmetry 

sympathy 

symphony 

tapestry 

terrify 

testify 

tragedy 

treachery 

treasury 

trinity 

trumpery 

tyranny 

unity 

urgency 

usury 

vacancy 

vanity 

verify 

versify 

victory 

vilify 

villany 

vitrify 

vivify 

votary 

ability 

absurdity 

academy 

acclivity 

accompany 

activity 

adultery 

adversity 

affinity 

agility 

alacrity 

allegory 

anatomy 



antipathy 


fatality 


antiquity 


felicity 


anxiety 


fertility 


apology 


fidelity 


apostasy 


formality 


artillery 


frugality 


astronomy 


futurity 


austerity 


geography 


authority 


geometry 


avidity 


gratuity 


calamity 


hostility 


capacity 


humanity 


captivity 


humidity 


casualty 


humility 


civility 


hypocrisy 


community 


idolatry 


concavity 


imagery 


confederacy 


immensity 


conformity 


immodesty 


congruity 


immunity 


conspiracy 


, impiety 


cosmography 


improbity 


credulity 


impunity 


curiosity 


impurity 


declivity 


inanity 


deformity 


incendiary 


delivery 


inclemency 


democracy 


inconstancy 


dexterity 


indemnify 


discovery 


indemnity 


dishonesty 


infinity 


disloyalty 


infirmary 


disparity 


infirmity 


diversity 


iniquity 


divinity 


integrity 


emergency 


majority 


enormity 


malignity 


equality 


maturity 


eternity 


minority 


extremity 


morality 


facility 


mortality 



232 



A HANDBOOK OF POETRY. 



mystery 


ambiguity 


impossibility 


nativity 


animosity 


inflexibility 


necessity 


assiduity 


uniformity 


neutrality 


auxiliary 




nobility 


consanguinity 


IEOE, see EASE. 


obscurity 


equanimity 


IEF 

beef 


perplexity 


etymology 


perversity 


genealogy 


philosophy 


generosity 


brief 

i * a 


polygamy 


immaturity 


chief 

fief 

grief 


posterity 


immorality 


priority 


importunity 


propensity 


inability 


leaf 
lief 


prosperity 


inactivity 


rapidity 


incapacity 


sheaf 


recovery 


incivility 


thief 


sagacity 


incongruity 


belief 


sanctuary 


incredulity 


relief 


satiety 


inequality 




security 


infidelity 


IEGE 


severity 


instability 


liege 


simplicity 


invalidity 


siege 


sincerity 


liberality 


assiege 


sobriety 


magnanimity 


besiege 


society 


mediocrity 




solemnity 


mutability 


IELD 

H 1 1 


solidity 


opportunity 


held 


soliloquy 


partiality 


shield 


sovereignty 


perpetuity 


wield 


sterility 


perspicuity 


yield 


stupidity 


probability 


afield 


supremacy 


prodigality 


and the participles 


temerity 


sensibility 


of some of the verbs 


timidity 


sensuality 


in EAL. 


tranquillity 


unanimity 




vacuity 


university 


IEN, see EEN. 


validity 


visibility 




variety 


familiarity 


IEND „ END. 


virginity 


immutability 




vivacity 


impartiality 


IERCE 


affability 


impetuosity 


fierce 



A DICTIONARY OF PROPER RHYMES. 



233 



pierce 




hg 


gill 


tierce 




grill 






Pig 


hill 


IE ST 


see EAST. 


prig 


ill 






rig 


kill 


IEVE 


„ EAVE 


. sprig 


mill 






swig 


nil 




IFE 


twig 


pill. 


fife 




Whig 


quill 


knife 




wig 


rill 


life 






shrill 


rife 




IGE 


sill 


strife 




oblige 


skill 


wife 




disoblige 


skrill 
spill 




IFF 


IGH, see IE. 


still 


cliff 






swill 


if 




IGHT„ ITE. 


thill 


skiff 






thrill 


sniff 




ESTG „ IIE. 


till 


stiff 






trill 


tiff 




IGUE „ EAGUE 


will 


whiff 






distil 






IKE 


fulfil 




IFT 


dike 


instil 


clift 




like 


codicil 


drift 




Mike 


daffodil 


gift 




pike 


utensil 


lift 
rift 




spike 
strike 


The participles of 


shift 

sift 

thrift 




some of the verbs 




alike 


in this termination 




dislike 


will rhyme. 


adrift 




ILL 


ILD 






bill 


child 




IG 


brill 


mild 


bis: 




chill 


smiled 


dier 




dill 


styled 


% 




drill 


wild 


gig 




fill 


beguiled 


grig 




frill 


reviled 



234 



A HANDBOOK OF POETRY. 



and the other 


par- milk 




mime 


ticiples of the verbs silk 




prime 


in ILE. 






rhyme 


ILE 




ILT 


rime 


aisle 


built 




slime 


bile 


gilt 




thyme 


chyle 


guilt 




time 


file 


hilt 




begrime 


guile 


jilt 




mistime 


isle 


hit 




pastime 


mile 


quilt 




sublime 


Nile 


spilt 




maritime 


pile 
rile 


stilt 
tilt 




pantomime 


smile 






IMP 


stile 
style 


filth 


ILTH 


imp 
gimp 


tile 


tilth 




limp 


vile 






pimp 


while 




IM 




wile 


brim 




IMPSE 


awhile 


dim 




glimpse 


compile 


grim 
him 




rhymes to the plu- 


defile 


hymn 
limb 

limn 




rals of the nouns 


e'erwhile 
exile 




and 3rd person pre- 
sent of the verbs in 


profile 




IMP. 


revile 
senile 
somewhile 


skim 
slim 
swim 




IN 
bin 
chin 


camomile 


trim 




din 


crocodile 






fin 


domicile 




IME 


gin 


imbecile 


chime 




glyn 


inhabile 
juvenile 


climb 
clime 




grin 
in 


reconcile 


crime 




inn 


volatile 


dime 




kin 


ILK 


grime 




lin 


bilk 


lime 




pin 



A DICTIONARY OF PROPER RHYMES. 



235 



shin 


instinct 


spine 


sin 


. precinct 


swine 


skin 


succinct 


thine 


spin 
thin 


and the participles 
of some of the 


tine 
trine 


tin 


verbs in INK. 


twine 


twin 




vine 


win 


IKD 


whine 


begin 


bind 


wine 


chagrin 


blind 


assign 
calcine 


heroine 


find 


unpin 


hind 


canine 


within 


kind 


combine 


assassin 


grind 


confine 


"bombasin 


mind 


consign 


capuchin 


rind 


decline 


javelin 


wind 


define 


mandarin 


behind 


design 


metheglin 


remind 


divine 


origin 


unkind 


entwine 


violin 


unwind 


fascine 


INCE 


and the participles 


incline 
inshrine 


mince 


of the verbs in 


prince 


IKE. 


opine 




outshine 


quince 


IKE 


recline 


rinse 


bine 




since 


brine 


repine 


wince 


chine 


resign 
saline 


convince 
evince 

INCH 

clinch 

flinch 

inch 

pinch 

winch 


dine 
fine 
kine 
line 


supine 
untwine 

adventine 


mine 


alkaline 


nine 


aquiline 


pine 


concubine 


Rhine 


coralline 


shine 


crystalline 


INCT 


shrine 


countermine 


distinct 


sign 


discipline 


extinct 


sine 


disencline 



236 



A HANDBOOK OF POETRY. 



feminine 

interline 

intertwine 

libertine 

masculine 

metalline 

palatine 

porcupine 

quarantine 

serpentine 

superfine 

turpentine 

underline 

undermine 

undersign 

valentine 

elephantine 

ING 

"bring 

cling 

fling 

king 

ling 

ring 

sing 

sling 

sting 

string 

swing 

thing 

wing 

wring 



infringe 
unhinge 



INGE 



cringe 

fringe 

hinge 

singe 

springe 

swinge 

twinge 



INK 



blink 

brink 

chink 

clink 

drink 

ink 

link 

pink 

prink 

shrink 

sink 

slink 

stink 

swink 

think 

tink 

wink 

bethink 

forethink 

hoodwink 



INT 



dint 

flint 

hint 

lint 

mint 

print 

squint 

tint 

asquint 

imprint 



chip 
clip 
dip 



IP 



drip 

flip 

grip 

hip 

lip 

nip 

pip 

rip 

scrip 

ship 

sip 

skip 

slip 

snip 

strip 

tip 

trip 

whip 

atrip 

equip 

unship 

eldership 

fellowship 

partnership 

rivalship 

scholarship 

workmanship 

and many other 

words ending in 

" ship." 

IPE 
gripe 
pipe 
ripe 
snipe 
stripe 
tripe 
type 
wipe 
bagpipe 



A DICTIONARY OF PROPER RHYMES. 



237 



hornpipe 

unripe 

windpipe 

archetype 

prototype 

IPSE 

eclipse 

rhymes to the plu- 
rals of the nouns 
and 3rd person of 
the verbs in IP. 

IE, see UE. 

IECH„ UEOH. 

IED „ EED. 



IEE 



brier 

choir 

dire 

fire 

friar 

gire 

hire 

ire 

lyre 

mire 

quire 

shire 

sire 

spire 

squire 

tire 

wire 

acquire 

admire 

aspire 



attire 

conspire 

desire 

entire 

esquire 

expire 

higher 

inspire 

nigher 

retire 

satire 

transpire 

IEGE, see EEGE. 

IEL „ EAEL. 

IEM 
firm 
sperm 
term 
worm 
affirm 
confirm 
glowworm 
infirm 

IEST, see UEST. 

IET „ EET. 

IETH „ EAETEL 

IS and ISS 
bliss 
his 
hiss 
is 

kiss 
miss 
this 



whiz 



amiss 
dismiss 
remiss 
submiss 

ISE, see ICE and 
IZE. 



ISH 



cuish 

dish 

fish 

pish 

wish 



ISK 



brisk 

disk 

frisk 

risk 

whisk 

basilisk 

tamarisk 



crisp 

lisp 

wisp 



fist 

hist 

list 

mist 

trist 

twist 

whist, 

wist 

wrist 



ISP 



1ST 



238 



A HANDBOOK OF POETRY. 



assist 


nit 


consist 


pit 


desist 


quit 


exist 


sit 


insist 


slit 


persist 


smitt 


resist 


spit 


subsist 


split 


alchymist 


sprit 


amethyst 


tit 


anatomist 


twit 


antagonist 


whit 


coexist 


wit 


dramatist 


writ 


eucharist 


acquit 


evangelist 


admit 


exorcist 


commit 


herbalist 


emit 


humorist 


omit 


journalist 


outwit 


oculist 


permit 


organist 


refit 


satirist 


remit 


and many 


other submit 


nouns of a 


similar transmit 


character 


ending benefit 


in "ist." 


intermit 


IT 


perquisite 


bit 


IT( 


brit 


bitch 


chit 


ditch 


cit 


flitch 


fit 


hitch 


flit 


itch 


frit 


niche 


grit 


nitch 


hit 


pitch 


kit 


rich 


knit 


stitch 


lit 


switch 



twitch 
which 
witch 
bewitch 



bight 

bite 

blight 

blite 

bright 

cite 

fight 

flight 

fright 

height 

hight 

kite 

knight 

light 

might 

mite 

night 

plight 

quite 

right 

rite 

sight 

site 

slight 

spight 

spite 

smite 

sprite 

tight 

trite 

white 

wight 

wright 

write 

affright 



ITE 



A DICTIOXARY OF PROPER RHYMES. 



239 



alight 
aright 
bedight 
benight 

contrite 
delight 
despite 
excite 
foresight 
ncite 
indict 
insight 
invite 
polite 
recite 
requite 
unite 
unsight 
upright 
aconite 
appetite 
apposite 
bedlamite 
Carmelite 
chrysolite 
cosmopolite 
disunite 
expedite 
exquisite 
favourite 
hypocrite 
infinite 
impolite 
opposite 
oversight 
parasite 
perquisite 
proselyte 
recondite 
requisite 
reunite 



satellite 
underwrite 
impolite 
theodolite 

ITH 
frith 
pith 

smith 

with 

forthwith 



blithe 

hithe 

lithe 

scythe 

tithe 

writhe 

dive 

drive 

gyve 

hive 

rive 

strive 

swive 

thrive 

wive 

alive 

arrive 

connive 

deprive 

revive 

survive 



ITHE 



IYE 



IV 



give 
live 
sieve 
forgive 



furtive 

outlive 

deceptive 

donative 

laxative 

linitive 

lucrative 

narrative 

negative 

perspective 

positive 

primitive 

purgative 

sensitive 

vegetive 

affirmative 

alternative 

contemplative 

demonstrative 

diminutive 

distributive 

inquisitive 

preparative 

prerogative 

provocative 

restorative 

IX 

fix 
flix 

mi'v 

six 
affix 
infix 
prefix 
transfix 
crucifix 
intermix 

and the plurals of 
the nouns and 3rd 



240 



A HANDBOOK OF POETRY. 



person present of 
the verbs in ICK. 

IXT 

betwixt 

rhymes with the 

participles of the 

verbs in IX. 

IZE 

guise 

prize 

rise 

size 

thighs 

wise 

advise 

assize 

baptize 

chastise 

comprise 

despise 

devise 

disguise 

excise 

premise 

revise 

surmise 

surprise 

aggrandize 

authorize 

canonize 

civilize 

criticise 

enterprise 

exercise 

formalize 

gormandize 

harmonize 

idolize 

legalize 



moralize 

partialize 

realize 

scandalize 

signalize 

solemnize 

syllogize 

sympathize 

tyrannize 

tantalize 

vocalize 

apologize 

apostrophize 

immortalize 

naturalize 

philosophize 

and numerous other 
words ending in 
IZE, also the plu- 
rals of the nouns 
and 3rd person pre- 
sent of the verbs 
in IE and Y. {See 
also ICE.) 

0, see 00 and OW. 

OACH 
broach 
coach 
poach 
roach 
abroach 
approach 
encroach 
reproach 

OAD, see ODE. 

OAF „ OFF. 



OAL see 


OLE. 


OAM „ 


OME. 


OAN „ 


ONE. 


OAP „ 


OPE. 


OAR „ 


ORE. 


ARD „ 


ORD. 


OAST „ 


OST. 


OAT „ 


OTE. 


OATH „ 


OTH. 


OB 


bob 




cob 




fob 




job 




knob 




lob 




mob 




nob 




rob 




sob 




throb 




OBE 


globe 
lobe 






probe 




robe 




conglobe 




disrobe 




enrobe 





OAK „ OKE. OCE, see OSE. 



A DICTIONARY OF PROPER RHYMES. 



241 



OCK 



"block 

clock 

cock 

crock 

dock 

flock 

frock 

knock 

lock 

mock 

rock 

shock 

slock 

smock 

sock 

stock 

OCT 

concoct 

rhymes with the 
participles of the 
verbs in OCK. 



load 

mode 

ode 

road 

rode 

strode 

toad 

abode 

corrode 

explode 

forebode 



incommode 
OE, see OW. 

OFF 

cough 
off 
scoff 
trough 



OD 



clod 

God 

hod 

nod 

odd 

plod 

pod 

quod 

rod 

shod 

sod 

tod 

trod 

bode 



croft 

loft 

oft 

soft 

toft 

aloft 



OFT 



log 
mog 

agog 

prologue 

catalogue 

dialogue 

epilogue 

pedagogue 

synagogue 

ODGE 

dodge 
lodge 

OGUE 

rogue 

vogue 

collogue 

disembogue 

prorogue 

OICE 

choice 

voice 

rejoice 

OID 
void 
avoid 



and the participles and the participles 
of the verbs in of the verbs in OY. 



ODE 



OFF. 



bog 

clog 

cog 

dog 

fog 

grog 

hog 

jog 



OIL 



OG 



boil 

broil 

coil 

foil 

moil 

oil 

soil 

spoil 

toil 



242 



A HANDBOOK OF POETRY. 



accoil 

bemoil 

cinquefoil 

despoil 

embroil 

recoil 

trefoil 

turmoil 

disembroil 



OIST 



GIN 



coin 
groin 
join 
loin 
adjoin 
conjoin 
disjoin 
enjoin 
purloin 
rejoin 
" ":>in 



foist 

hoist 

joist 

moist 

rejoic'd 

coit 
exploit 

broke 

choak 

choke 

cloak 

coke 

croak 

joke 

oak 

poke 

smoke 



OIT 



OKE 



OINT 

joint 

oint 

point 

anoint 

appoint 

disjoint 

disappoint 

counterpoint 

OISE 

noise 

poise 

counterpoise 

and the plurals of 
the nouns and the 
3rd person of the 
verbs in OY. 



spoke 

stoke 

stroke 

woke 

yoke 

awoke 

bespoke 

invoke 

provoke 

revoke 

unyoke 



bold 

cold 

doled 

foaled 

fold 

gold ' 



OLD 



hold 

mold 

mould 

old 

scold 

sold 

told 

wold 

behold 

enfold 

foretold 

unfold 

untold 

uphold 

withhold 

manifold 

marigold 

and the partici- 
ples of the verbs in 
OLE. 



OLE 



bole 

bowl 

coal 

cole 

dole 

droll 

foal 



hole 

jole 

mole 

pole 

role 

roll 

scroll 

shoal 

sole 

soul 

stole 



A DICTIONARY OF PROPER RHYMES. 



243 



toll 

troll 

troul 

whole 

cajole 

condole 

control 

enrol 

patrol 



OLN 



OLT 



stoll'n 
swoll'n 

bolt 

colt 

dolt 

holt 

jolt 

molt 

moult 

revolt 

thunderbolt 

OLYE 

solve 

absolve 

convolve 

devolve 

dissolve 

exolve 

involve 

revolve 

OM, see UM. 



OME 



comb 
dome 
foam 
home 



ON 



loam 
roam 
tome 

con 

don 

swan 

ton 

anon 

upon 

amazon 

cinnamon 

garrison 

skeleton 

comparison 

OND 

bond 

conn'd 

fond 

pond 

beyond 

despond 

correspond 

diamond 

vagabond 

ONE 
blown 
bone 
cone 
crone 
drone 
flown 
groan 
grown 
hone 
known 
loan 
lone 
moan 



own 

prone 

shone 

shown 

sown 

stone 

strown 

throne 

thrown 

tone 

zone 

alone 

attone 

disown 

disthrone 

enthrone 

o'erthrown 

ONG 
gong 
long 
prong 
song 
strong 
thong 
throng 
wrong 
along 
belong 
dingdong 
erelong 
oblong 
prolong 

ONCE seeTTNCE. 
ONGUE „ UNG. 
ONK „ UNK. 

ONCE 
sconce 
ensconce 

r2 



244 



A HANDBOOK OF POETRY. 



ONT 



font 

front 

want 



00, see EW. 
00D 



brood 
could 
food 
good 
hood 
mood 
rood 
should 
stood 
wood 
would 
withstood 
brotherhood 
likelihood 
livelihood 
neighbourhood 
understood 
widowhood 
and the participles 
of the verbs in 00. 



brook 

cook 

crook 

hook 

look 

rook 

shook 

took 

betook 

forsook 

mistook 

overlook 

undertook 



OOF 



hoof 

proof 

roof 

woof 

aloof 

behoof 

disproof 

disroof 



OOL 



cool 

fool 

mule 

pool 

pull 

rule 

school 

stool 

tool 

wool 

yule 

befool 

misrule 

ridicule 

overrule 

vestibule 



book 



OOK 



bloom 

boom 

broom 

doom 

gloom 

groom 

loom 



OOM 



spoom 

tomb 

whom 

womb 

entomb 



OON 
boon 
June 
loon 
moon 
noon 
prune 
soon 
spoon 
swoon 
tune 
attune 
buffoon 
jejune 
lampoon 
poltroon 
untune 
importune 



OOP 



coop 

droop 

dupe 

hoop 

loop 

poop 

scoop 

sloop 

soup 

stoop 

swoop 

troop 

whoop 



A DICTIONARY OF PROPER RHYMES. 



245 



OOE 


pollute 


mop 


boor 


pursuit 


pop 


moor 


recruit 


prop 


poor 


refute 


shop 


tour 


repute 


sop 


your 


salute 


stop 


amour 


suppute 


swop 


paramour 


absolute 
constitute 


top 
wop 


OOSE, see USE. 


dissolute 


unstop 


OOT 

boot 
bruit 
brute 


institute 
prosecute 
prostitute 
resolute 


OPE 

cope 

grope 

hope 


coot 


irresolute 


mope 


foot 


OOTH 


pope 


flute 


booth 


rope 


fruit 


smooth 


scope 


hoot 


sooth 


slope 


loot 




soap 


lute 


OOZE 


tope 


moot 


choose 


trope 


mute 


lose 


aslope 


root 


mews 


elope 


route 


news 


antelope 


shoot 


noose 


interlope 


soot 


ooze 


horoscope 


suit 
acute 


use 
whose 


telescope 
heliotrope 


commute 


abuse 




compute 


amuse 


OPT 


confute 




adopt 


cornute 


OP 


rhymes with the 


depute 


chop 


participles of the 


dilute 


crop 


verbs in OP. 


dispute 


dop 


OR 


hirsute 


drop 


impute 


fop 


abhor 


minute 


hop 


ancestor 


permute 


lop 


confessor 



246 



A HANDBOOK OF POETRY. 



conqueror 


ford 


swore 


counsellor 


gourd 


tore 


creditor 


hoard 


whore 


emperor 


lord 


wore 


governor 


sword 


adore 


metaphor 


ward 


afore 


orator 


abhorr'd 


ashore 


senator 


aboard 


before 


successor 


accord 


deplore 


ambassador 


afford 


explore 


competitor 


award 


forlore 


conspirator 


record 


forswore 


progenitor 


reward 


implore 




and the participle e 


L restore 


OECH 


of the verbsin OKE 


1 evermore 


porch 




heretofore 


scorch 


OEE 


hellebore 


torch 


boar 
bore 
core 


nevermore 


OECE 


sycamore 


coarse 


door 


OEGE 


corse 


floor 


forge 


course 


fore 


George 


force 


four 


gorge 


hoarse 
horse 


goar 


disgorge 


gore 


regorge . 


source 
discourse 


hoar 
lore 


OEK 

cork 

fork 

pork 

stork 

work 


divorce 


more 


endorse 


oar 


enforce 


ore 


perforce 


o'er 


recourse 


pore 




remorse 


pour 


OELD 


resource 


roar 


world 


unhorse 


score 


rhymes with the 


intercourse 


shore 


participles of the 




snore 


verbs in UEL. 


ORD 


soar 




board 


sore 


OEM 


cord 


store 


form 



A DICTIONARY OF PROPER RHYMES. 247 



storm 

swarm 

warm 

conform 

deform 

inform 

perform 

reform 

transform 

multiform 

uniform 



ORN 



born 

corn 

dawn 

horn 

lawn 

scorn 

shorn 

sworn 

thorn 

torn 

warn 

worn 

adorn 

forborne 

forlorn 

forsworn 

suborn 

Capricorn 

overborne 

unicorn 



mort 

short 

snort 

sort 

sport 

consort 

disport 

distort 

exhort 

export 

extort 

import 

report 

resort 

retort 

support 

transport 



OETH 



forth 
fourth 
north 
worth 



OSE 



close 

dose 

gross 

engross 

jocose 

morose 

(See OZE. 



OEST, 



URST. 



OSS 



OET 



court 
fort 
port 
quart 



boss 

cross 

dross 

foss 

loss 



toss 

across 

emboss 

OST 

cost 

frost 

lost 

tost 

accost 

emboss'd 

exhaust 

OST (OAST) 
boast 
coast 
ghost 
host 
most 
post 
roast 
toast 



blot 

clot 

cot 

dot 

got 

grot 

hot 

jot 

knot 

lot 

not 

plot 

pot 

rot 

Scot 

shot 



OT 



248 



A HANDBOOK OF POETRY. 



slot 


afloat 


overcloud 


sot 


denote 


and the participles 


spot 


devote 


of some of the 


squat 


promote 


verbs in OW. 


what 


remote 




yacht 


anecdote 


OYE 


allot 


antidote 


clove 


begot 




drove 


besot 


OTH 


grove 


complot 


broth 


rove 


forgot 


cloth 


stove 


counterplot 


froth 


throve 




moth 


wove 


OTCH 


• troth 


alcove 


botch 


wroth 


devove 


crotch 


betroth 


inwove 


notch 
watch 


OTH (OATH) 


interwove 


OTE 
bloat 
boat 


both 
clothe 
growth 
loth 


OYE (asUY) 
dove 
glove 
love 


coat 
cote 
doat 


oath 
sloth 


shove 
above 


float 

gloat 

goat 

groat 

lote 

moat 


OUCH 
couch 
crouch 
pouch 
slouch 
vouch 


OYE (as UYE) 
move 
prove 
approve 
disprove 


mote 


improve 


note 


avouch 


remove 


oat 




reprove 


quote 


OUD 




rote 


cloud 


OUGHT 


smote 


crowd 


bought 


stoat 


loud 


brought 
caught 


throat 


proud 


vote 


shroud 


drought 


wrote 


aloud 


fought 



A DICTIONARY OF PROPER RHYMES. 



249 



fraught 


resound 


rhymes to the plu- 


nought 


surround 


ral of the nouns 


ought 


and the participles 


, and 3rd person 


sought 


of the verbs in 


present of verbs 


taught 


OWN. 


in OUR and 


thought 




yours 


wrought 


OUNG, see UNG. 


with same in OOE. 


besought 
bethought 


OUNT 


OUSE 
chouse 
house 
louse 


forethought 
methought 


count 


fount 
mount 






mouse 


OUNCE 


account 


souse 


bounce 


discount 


OUT 


flounce 


dismount 


bout 


ounce 


miscount 


clout 


pounce 
denounce 


remount 
surmount 


doubt 
drought 


pronounce 


OUP, see OOP. 


flout 


renounce 




gout 




OUE 


grout 


ouisrD 


bower 


lout 


bound 


cower 


pout 


found 


dower 


rout 


ground 


flour 


scout 


hound 


flower 


shout 


mound 


hour 


snout 


pound 


lower 


spout 


round 


our 


sprout 


sound 


power 


stout 


wound 


shower 


trout 


abound 


sour 


about 


aground 


tower 


devout 


around 


devour 


redoubt 


compound 


deflower 


misdoubt 


confound 


empower 


throughout 
without 


expound 


overpower 


profound 




OUTH 


redound 


OUKS 


mouth 


renowned 


ours 


south 



250 



A HANDBOOK OF POETRY. 



ow 


foreshow 


clown 


bow 


overflow 


crown 


blow 


overgrow 


down 


crow 


overthrow 


drown 


doe 


reflow 


frown 


dough 




gown 


flow 
foe 


OW (OUGH) 


town 
adown 


glow 


bough 
bow 


imbrown 


go 


renown 


grow 


brow 




ho! 


cow 


OWZE 


hoe 


how 


blouse 


know 


mow 


blowze 


lo! 


now 


browze 


low 


plough 


rouse 


mow 


prow 


spouse 


no 


row 


carouse 


oh! 


slough 


espouse 


roe 
row 

sew 


sow 

thou 

vow 


OX 

box 
fox 
locks 


shew 
show 


allow 
avow 


sloe 


endow 


ox 


slow 
snow 
so 


disallow 
disavow 


equinox 

orthodox 

heterodox 


sow 


OWL 


and the plurals of 


stow 


the nouns and 3rd 


though 


cowl 
foul 


person present of 


throw 


the verbs in OCK. 


toe 


fowl 




tow 
trow 


growl 
howl 


OT 

boy 


woe 
ago 
below 


owl 

prowl 

scowl 


buoy 

cloy 

coy 


bestow 




joy 


forego 


OWN 


toy 


foreknow 


brown 


troy 



A DICTIONARY OF PROPER RHYMES. 



251 



alloy 


interpose 


deduce 


annoy 


presuppose 


disuse 


convoy 


recompose 


excuse 


decoy 


and the plurals 


f induce 


destroy 


the nouns and 3rd misuse 


employ 


person present 


f obtuse 


enjoy 


the verbs in 0¥. P r( 


viceroy 




profuse 




TTB 


recluse 


OZE 


bub 


reduce 


chose 


chub 


seduce 


close 


club 


traduce 


doze 
gloze 
froze 


cub 
dub 


introduce 


drub 


UC 


hose 


grub 
rub 


clutch 


knows 


crutch 


lows 


scrub 


Dutch 


nose 


shrub 


grutch 

hutch 


owes 


snub 


pose 


sub 


much 


prose 


tub 


such 


rose 
those 


sillabub 


touch 
retouch 


toes 
woes 


UBE 

cube 


insomuch 
overmuch 


arose 


tube 




appose 




U( 


compose 


UCE 


buck 


depose 


deuce 


chuck 


disclose 


juice 


duck 


dispose 


luce 


luck 


enclose 


pruce 


muck 


expose 


puce 


pluck 


foreclose 


sluice 


Puck 


impose 


spruce 


ruck 


oppose 


truce 


struck 


propose 


use 


stuck 


repose 


abstruse 


suck 


suppose 


abuse 


truck 


discompose 


conduce 


tuck 



252 



A HANDBOOK OF POETRY. 



UCT 
duct 
conduct 
construct 
deduct 
extract 
induct 
instruct 
obstruct 
product 
subduct 
aqueduct 
circumduct 
ventiduct 
and the participles 

of the verbs in 

TJCK. 



UD 



blood 

bud 

cud 

flood 

mud 

scud 

stud 



brood 

crude 

feud 

lewd 

nude 

prude 

rude 

shrewd 

allude 

conclude 

delude 

elude 



UDE 



exclude 

extrude 

exude 

include 

intrude 

obtrude 

preclude 

prelude 

protrude 

seclude 

aptitude 

attitude 

finitude 

fortitude 

gratitude 

habitude 

interlude 

lassitude 

latitude 

longitude 

magnitude 

multitude 

plenitude 

promptitude 

quietude 

rectitude 

sanctitude 

servitude 

solitude 

turpitude 

beatitude 

decrepitude 

ineptitude 

infinitude 

ingratitude 

inquietude 

necessitude 

similitude 

solicitude 

vicissitude 



and the participles 
of the termination 
EW. 

UDGE 

budge 

drudge 

fudge 

grudge 

judge 



trudge 

adjudge 

forejudge 



prejudge 
rejudge 

UE, see EW 

TTFF 

bluff 

buff 

chuff 

cuff 

huff 

gruff 

luff 

muff 

puff 

ruff 

rough 

scruff 

snuff 

stuff 

tough 

enough 

rebuff 

counterbuff 



UFT 



tuft 



A DICTIONARY OF PROPER RHYMES. 



253 



and the participles 


UL 


of the verbs in 


cull 


UFE. 


dull 




gull 


UG 


hall 


bug 


lull 


drag 


mull 


dug 


nuU 


hug 


scull 


jug 
lug 


skull 


trull 


mug 


annul 


pug 


disannul 


rag 




shrug 


ULL 


slug 


bull 


snug 


full 


UICE, see USE. 


pull 
•wool 


UIDE „ IDE. 


bountiful 




dutiful 


UILD „ ILD. 


fanciful 




merciful 


UILE „ ILE. 


sorrowful 
wonderful 


UILT „ ILT. 


worshipful 


UINT „ INT. 


ULE, see OOL, 


UISE „ ISE 


ULGE 
bulge 


and USE. 


divulge 




indulge 


UIE, see IE. 


ULK 




bulk 


"UKE 


hulk 


duke 


sculk 



puke 

peruke 

rebuke 



pulse 



ULSE 



convulse 
expulse 
impulse 
repulse 

ULT 

adult 

consult 

exult 

indult 

insult 

occult 

penult 

result 

tumult 

difficult 

UM and UMB 

bomb 

chum 

come 

cram 

crumb 

dram 

dumb 

gum 

glum 

gram 

hum 

mum 

numb 

rum 

plum 

plumb 

scum 

some 

stum 

sum 

swum 

thumb 



254 



A HANDBOOK OF POETRY. 



thrum 

become 

benumb 

succumb 

burthensome 

Christendom 

cumbersome 

frolicsome 

hecatomb 

humorsome 

laudanum 

martyrdom 

medium 

minium 

odium 

opium 

overcome 

pendulum 

premium 

quarrelsome 

speculum 

troublesome 

delirium 

effluvium 

elysium 

emporium 

encomium 

exordium 

millennium 

postulatum 

sensorium 

ultimatum 

equilibrium 

pericranium 

epithalamium 



fume 

plume 

rheum 



UME 



assume 

consume 

deplume 

inhume 

perfume 

relume 

resume 



UMP 



bump 

chump 

clump 

crump 

dump 

hump 

jump 

lump 

mump 

plump 

pump 

rump 

stump 

thump 

thrump 

trump 

done 

dun 

fun 

gun 

Hun 

none 

nun 

one 

pun 

run 

shun 

son 

spun 

stun 



uisr 



ton 

tun 

won 

begun 

forerun 

outrun 

overrun 

undone 



UNCE 
dunce 
once 

TJJ5TCH 

bunch 

crunch 

hunch 

lunch 

munch 

punch 

UND 

fund 

rhymes with the 
participles of the 
verbs in TIN". 

TINE, see OOK 



UNG 



bung 

clung 

dung 

flung 

hung 

lung 

'mong 

rung 

slung 

sprung 

strung 



A DICTIONARY OF PROPER RHYMES. 



255 



stung 

sung 

swung 

tongue 

wrung 

young 

among 

unsung 



UNGE 



lunge 

sponge 

expunge 



UNK 



drank 

funk 

junk 

monk 

punk 

shrunk 

slunk 

sponk 

spunk 

stunk 

sunk 

trunk 



blunt 

brunt 

front 

grunt 

hunt 

lunt 

runt 

wont 



cup 



tot 



sup 
up 

UPT 

abrupt 

corrupt 

interrupt 

and the partici- 
ples of the verbs 
in UP. 

UR, see ER. 

UKB 

curb 

herb 

verb 

adverb 

disturb 

reverb 

superb 

URCH, see 
EARCH. 

URD, see ERD. 



URE 



UP 



cure 

dure 

lure 

mure 

pure 

sure 

ure 

your 

abjure 

adjure 

allure 

assure 

conjure 



demure 

depure 

endure 

immure 

insure 

inure 

manure 

mature 

unsure 

obdure 

obscure 

procure 

secure 

embrasure 

epicure 

insecure 

immature 

reassure 

sinecure 



URF 



scurf 
turf 



URGE, see ERGE. 



birk 

clerk 

dirk 

firk 

irk 

jerk 

kirk 

lurk 

mirk. 

murk 

perk 

smirk 

stirk 

Turk 

work 



URK 



256 



A HANDBOOK OF POETRY. 



URL, 


see 


EARL. 


URN 


» 


ERK 




URST 


burst 






curst 






durst 






erst 






first 






hurst 






thirst 






worst 






URT, 


see 


ERT. 



URSE „ ERSE. 



URYE „ ERYE. 



US 



fabulous 

frivolous 

geuerous 

gluttonous 

harquebuss 

hazardous 

incubus 

infamous 

lecherous 

mischievous 

mountainous 

mutinous 

numerous 

ominous 

overplus 

perilous 

poisonous 

ponderous 

populous 

prosperous 

ravenous 

rigorous 

riotous 



buss 
fuss 


slanderous 


sonorous 


muss 


timorous 


plus 
thus 


tyrannous 


valorous 


truss 


venomous 


us 


villanous 


discuss 


adventurous 


percuss 


adulterous 


rebus 


ambiguous 


amorous 


calamitous 


blasphemous 


degenerous 


boisterous 


fortuitous 


clamorous 


gratuitous 
idolatrous 


credulous 


dangerous 


incredulous 


dolorous 


libidinous 


emulous 


magnanimous 



miraculous 

necessitous 

obstreperous 

ridiculous 

solicitous 

unanimous 

odoriferous 

There are nume- 
rous other words 
ending in " OUS " 
which are not ac- 
cented on the last 
syllable. 



USE 



deuce 

goose 

loose 

ruse 

truce 



abuse 

excuse 

intuse 

obtuse 

profuse 

recluse 

refuse 



USH 



blush 

brush 

bush 

crush 

flush 

gush 

hush 

lush 

plush 

push 

rush 



A DICTIONARY OF PROPER RHYMES. 



257 



thrush. 

tush 

ambush 



USK 



busk 

dusk 

husk 

lusk 

musk 

rusk 

tusk 



bust 

crust 

dust 

gust 

just 

lust 

must 

rust 

thrust 

trust 

adjust 

adust 



UST 



august 

combust 

disgust 

distrust 

incrust 

intrust 

mistrust 

robust 



UT 



but 

butt 

cut 

glut 

gut 

hut 

jut 

nut 

put 

rut 

scut 

shut 

slut 

smut 

strut 



abut 
englut 

TJTCH, see UCH. 

TJTB „ OOT. 

UTH 
Euth 
sooth 
tooth 
truth 
youth 
forsooth 
uncouth 

UVE, see OYE. 

UX 
flux 
lux 
yux 
conflux 
efflux 
influx 
reflux 
superflux 



A LIST OF DOUBLE RHYMES 
USEFUL IN POETRY. 



Aching, awaking, breaking, forsaking, making, quaking, 

raking, taking. 
Acre, baker, quaker, raker. 
After, hereafter, laughter, rafter, wafter. 
Aiding. (See Trading.) 
Ailing, bailing, bewailing, detailing, sailing, failing, 

nailing, . paling, quailing, railing, wailing, whaling. 
Alley, galley, sally, valley, 
Alter, altar, falter, halter, palter, psalter. 
Amble, bramble, ramble, scramble. 
Ambler, clambler, rambler, scrambler. 
Ambling, rambling, scrambling. 
Angle, dangle, mangle, spangle, strangle, tangle. 
Anguish, languish. 

Babble, dabble, grabble, rabble. 

Badness, gladness, madness, sadness. 

Bailing, ailing, failing, hailing, nailing, paling, quailing, 

railing, sailing, wailing, whaling. 
Baker, acre, breaker, maker, quaker, raker, shaker, staker, 

taker. 
Banded, branded, handed, landed, stranded. 
Banding, handing, landing, standing. 
Bandy, handy, sandy. 
Banker, blanker, canker, danker, franker, hanker, lanker, 

ranker, thanker. 
Banter, canter, chanter, panter, planter, ranter. 
Barely, fairly, rarely, sparely. 



A DICTIONARY OF DOUBLE RHYMES. 259 

Barley, parley. 

Basted, hasted, pasted, tasted, wasted. 

Battle, cattle, chattle, prattle, rattle, tattle. 

Beaker, bleaker, meeker, seeker, sneaker, speaker, squeaker, 

weaker. 
Beaming, deeming, dreaming, gleaming, seeming, stream- 
ing, teeming. 
Bearer, carer, darer, fairer, rarer, scarer, sharer, snarer, 

swearer, wearer. 
Bearest. (See Wearest.) 
Bearing, airing, blaring, caring, daring, fairing, glaring, 

pairing, paring, scaring, sparing, squaring, swearing, 

tearing, wearing. 
Beauty, duty. 
Being, seeing. 
Bellow, fellow, mellow. 
Bender, fender, lender, render, sender, slender, tender, 

vendor. 
Bending, blending, ending, lending, mending, pending, 

rending, sending, spending, tending, vending, wending. 
Berry, bury, cherry, derry, ferry, merry, perry, very, 

wherry. 
Better, fetter, letter, natter, setter, wetter. 
Biding, chiding, dividing, gliding, gniding, hiding, riding, 

sliding, striding. 
Bigger, digger, figure, nigger, rigger. 
Billow, pillow, willow. 

Bitter, fitter, fritter, twitter, glitter, hitter, litter, sitter. 
Blameful, shameful. 
Bleating, beating, cheating, eating, greeting, meeting, 

seating, sheeting, sleeting, treating. 
Bleeding, beading, breeding, feeding, heeding, leading, 

needing, pleading, reading, speeding, weeding. 
Blessing, caressing, dressing, guessing, pressing, tress- 

ing. 
Blighted, benighted, cited, delighted, invited, lighted, 

plighted, requited, righted, slighted, spited, united. 
Blindest, kindest. 
Blindness, kindness. 
Blisses, hisses, kisses, misses. 
Bloomy, gloomy, loomy, ploomy, roomy. 

s 2 



260 A HANDBOOK OF POETRY. 

Blowing, flowing, going, growing, mowing, rowing, show- 
ing, snowing, stowing, strowing, throwing. 

Blunder, plunder, sunder, thunder, under, wonder. 

Boaster, coaster, roaster, toaster. 

Boldness, coldness, oldness. 

Borrow, morrow, sorrow. 

Bottle, mottle, pottle, throttle. 

Bounded, founded, hounded, pounded, rounded, sounded. 

Boundeth, astoundeth, soundeth, surroundeth. 

Bounding, founding, grounding, resounding, rounding, 

sounding. 
* Bowing, allowing, ploughing, vowing. 

Brainless, chainless, gainless, painless, rainless, stainless. 

Bramble, amble, gamble, ramble, scramble. 

Brawler, bawler, caller, crawler, drawler, mauler, smaller, 
sprawler, taller. 

Break tng, aching, baking, forsaking, laking, making, 
quaking, shaking, staking, taking, waking. 

Briar, crier, friar, nigher. 

Brighten, frighten, heighten, lighten, tighten, whiten. 

Brighter, biter, citer, fighter, inviter, lighter, mitre, nitre, 
slighter, smiter, triter, whiter, writer. 

Brightly, knightly, lightly, nightly, politely, rightly, 
sightly, slightly, spritely, tritely, whitely. 

Brindle, dwindle, kindle, spindle. 

Bringer, dinger, flinger, ringer, singer, springer, stinger, 
swinger, wringer. 

Bringing, clinging, flinging, ringing, singing, slinging, 
springing, stinging, stringing, swinging, winging. 

Brittle, little, quittal, spittal, tittle, whittle. 

Broken, spoken, token. 

Brother, another, mother, other, smother. 

Bumper, flumper, jumper, lumper, plumper, trumper. 

Burly, surly. 

Burning, spurning, turning, earning. 

Burntsh, furnish. 

Butler, cutler, sutler. 

Calling, appalling, falling, galling, stalling, walling. 
Callow, fallow, mallow, shallow, yellow. 
Canker, banker, hanker, lanker, spanker, thanker. 



A DICTIONARY OF DOUBLE RHYMES. 261 

Canteb, banter, ranter, panter. 

Capers, papers, vapours. 

Caber, bearer, darer, fairer, pairer, rarer, swearer, wearer 

Carest, barest, darest, fairest, rarest, sharest, squarest, 

wearest. 
Carriage, disparage, marriage. 
Chalice, malice, palace. 
Charmer, alarmer, farmer, harmer. 
Charming, alarming, arming, farming, harming. 
Cheerful, fearful, tearful. 
Cheerless, fearless, peerless, tearless. 
Cherish, perish. 
Cherry, berry, bury, derry, ferry, jerry, merry, sherry, 

very, wherry. 
C hided, divided, glided, sided, tided. 
Childhood, wildwood. 
Chooser, loser, user. 
Choral, floral, oral. 
Chords, o'er us, porous. 
City, ditty, pity, witty. 
Clambler, ambler, rambler, scrambler. 
Clearer, dearer, hearer, nearer, severer, sincerer, steerer. 
Clencher, bencher, drencher, trencher, wrencher. 
Client, defiant, pliant. 
Clinging, bringing, flinging, ringing, singing, swinging, 

winging. 
Clipper, chipper, dipper, nipper, shipper, skipper, sipper, 

whipper. 
Clover, drover, over, rover. 
Coaster, boaster, roaster, toaster. 
Coffer, offer, proffer, scoffer. 
Coiner, joiner, purloiner. 
College, knowledge. 
Codrted, sorted, sported. 
Cover, glover, hover, lover, shover. 
Craggy, baggy, jaggy, shaggy. 
Craven, graven, haven, raven, shaven. 
Crawler, bawler, brawler, drawler, foiler, spoiler, sprawler. 
Crazy, daisy, hazy, lazy. 
Creeping, keeping, peeping, sleeping, steeping, sweeping, 

weeping. 



262 A HANDBOOK OF POETRY. 

Cripple, dipple, nipple, ripple, tipple. 

Crosses, drosses, losses, mosses. 

Cruel, duel, fuel, gruel. 

Crumble, fumble, grumble, humble, jumble, mumble, 

rumble, stumble, tumble. 
Crupper, upper, cupper, supper. 

Daisy, crazy, hazy, lazy, mazy. 

Dancing, advancing, chancing, entrancing, glancing, 
prancing. 

Dandle, candle, handle, sandal, scandal. 

Dandy, bandy, candy, handy, pandy, sandy. 

Danger, manger, ranger, stranger. 

Dangle, jangle, mangle, spangle, strangle, tangle, wrangle. 

Dapper, flapper, snapper, wrapper. 

Darer, bearer, carer, fairer, swearer, wearer. 

Daring, bearing, caring, faring, paring, pairing, sparing, 
swearing, tearing, wearing. 

Darken, hearken. 

Darkling, sparkling. 

Daughter, mortar, porter, slaughter, water. 

Dawning, adorning, fawning, morning, scorning, warning. 

Dealing, ceiling, feeling, healing, pealing, reeling, reveal- 
ing, stealing. 

Dearer, clearer, fearer, hearer, nearer, queerer. 

Dearest, fearest, hearest, nearest, queerest. 

Decent, recent. 

Deepness, steepness. 

Digger, bigger, figure, jigger, nigger, rigger, snigger. 

Dimple, pimple, simple, wimple. 

Dingle, ingle, jingle, mingle, shingle, single. 

Dinner, grinner, sinner, skinner, thinner, winner. 

Distance, assistance, resistance. 

Ditcher, hitcher, pitcher. 

Doctor, proctor. 

Double, bubble, nubble, rubble, stubble, trouble. 

Doubter, outer, pouter, touter. 

Draining, raining, straining, training. 

Drawler, bawler, brawler, crawler, hawler. 

Dreaming, beaming, creaming, gleaming, seeming, 
scheming, streaming. 



A DICTIONARY OF DOUBLE RHYMES. 263 

Drencher, bencher, clencher, quencher, trencher, 
wrencher. 

Drinker, shrinker, thinker. 

Drinking, inkling, linking, sprinkling, tinkling, twink- 
ling. 

Driven, given, riven, striven. 

Dumbly, humbly. 

Dumbness, numbness. 

Dwelling, belling, foretelling, quelling, selling, spelling, 
swelling, telling, welling. 

Dwindle, brindle, kindle. 



Ending, bending, defending, lending, mending, pending, 

rending, sending, tending, wending. 
Ever, endeavour, never, sever. 

Faces, chases, laces, traces, braces. 

Failing, ailing, bailing, railing, sailing, wailing, whaling. 

Fainting, painting, tainting. 

Faintly, saintly. 

Fairer, bearer, carer, darer, pairer, rarer, swearer, wearer. 

Fairest, bearest, carest, darest, rarest, sharest, wearest. 

Falling, bawling, calling, hawling. 

Fallow, callow, mallow, shallow, tallow, yellow. 

Fastness, vastness. 

Fearest, dearest, hearest, nearest, queerest, steerest. 

Fearful, cheerful, tearful. 

Fearless, cheerless, peerless. 

Feather, leather, tether, together, weather, whether. 

Feeling, dealing, healing, pealing, reeling, revealing, 

squealing, stealing. 
Fellow, mellow. 

Ferry, berry, cherry, deny, merry, perry, very, wherry. 
Fetter, better, letter, setter, wetter. 
Fickle, pickle, prickle, sickle, tickle. 
Fiddle, twiddle, middle, riddle. 
Figure, vigour. 
Fleetness, sweetness. 

Flinging, bringing, clinging, singing, winging. 
Floated, boated, doated, moated, quoted. 



264 A HANDBOOK OF POETRY. 

Floral, choral, oral. 

Flying, buying, dying, hieing, lying, prying, sighing, 

trying, vieing. 
Follow, hollow. 
Fonder, wander, yonder. 
Fountain, mountain. 
Fuel, cruel, duel. 
Fonnel, gunnel, runnel, tunnel. 

Gainer, drainer, stainer, strainer, trainer. 

Ghastly, fastly, lastly, vastly. 

Given, driven, riven, striven, thriven. 

Giver, liver, quiver, river, shiver. 

Gladness, badness, madness, sadness. 

Glancing, advancing, dancing, entrancing, lancing, pranc- 

in S- .... 

Gleaming, beaming, deeming, dreaming, seeming, stream- 
ing. 

Glided, bided, chided, divided, sided. 

Glisten, listen. 

Glttter, bitter, fritter, hitter, litter, twitter. 

Glory, gory, hoary, story, tory. 

Going, blowing, flowing, glowing, knowing, mowing, row- 
ing, stowing, throwing. 

Graven, craven, haven, raven, shaven. 

Greedy, needy, seedy, speedy, weedy. 

Greeting, beating, heating, meeting, repeating, seating, 
treating. 

Griper, piper, riper, viper. 

GroanerS, moaners, owners. 

Gunnel, funnel, tunnel, runnel. 

Gunner, dunner, runner, stunner. 

Hackle, cackle, tackle. 

Handed, banded, candid, landed, sanded, stranded. 

Handle, candle, dandle, sandal, Yandal. 

Handy, bandy, candy, dandy, sandy. 

Hanging, banging, clanging. 

Hanker, banker, canker, danker, lanker, spanker, thanker. 

Harming, alarming, charming, farming. 

Haven, craven, graven, raven, shaven. 



A DICTIONARY OF DOUBLE RHYMES. 265 

Heady, neddy, ready, steady. 

Healing, dealing, feeling, pealing, reeling, revealing, 

stealing. 
Hearer, clearer, dearer, fearer, nearer, queerer, steerer. 
Heaeest, clearest, dearest, fearest, merest, nearest, 

peerest, queerest. 
Heaven, leaven, leven. 

Heaving, deceiving, grieving, leaving, thieving, weaving. 
Heeded, needed, speeded, unheeded, weeded. 
Heedful, needful. 

Hiding, hiding, chiding, gliding, riding, striding, tiding. 
Hither, thither, wither. 
Hollow, follow. 
Honey, funny, money. 
Humbly, dumbly. 
Humour, rumour. 

Idle, bridle, sidle, tidal. 

Ingle, dingle, mingle, shingle, single, tingle. 

Jaggy, baggy, craggy, shaggy. 

Javelin, ravelin. 

Jobber, fobber, robber. 

Joker, poker, provoker, smoker, soaker, stoker. 

Jumble, crumble, fumble, grumble, humble, mumble, 

rumble, stumble, tumble. 
Juncture, puncture. 

Keeping, heaping, leaping, peeping, reaping, sleeping, 

weeping. 
Ktndle, dwindle, spindle. 
Kindness, blindness. 

Lading, aiding, fading, trading, wading. 
Landing, banding, handing, sanding, standing. 
Lastly, lastly, ghastly, vastly. 
Latent, patent. 

Laughteli, after, hereafter, rafter. 

Laving, braving, craving, raving, slaving, staving, waving. 
Leading, breeding, feeding, heeding, needing, pleading, 
reading, weeding. 



266 A HANDBOOK OF POETRY. 

Leather, feather, heather, nether, tether, together 

weather. 
Leaving, grieving, heaving, weaving. 
Ledgy, sedgy. 
Lending, bending, ending, rending, sending, tending, 

wending. 
Lengthen, strengthen. 
Letter, better, debtor, fetter, setter. 
Lighted, blighted, delighted, plighted, righted, slighted, 

united. 
Lighten, brighten, frighten, heighten. 
Lighter, brighter, mitre, nitre, slighter, tighter, whiter, 

writer. 
Lightest, brightest, slightest, whitest. 
Lightly, brightly, nightly, slightly, spritely, tightly. 
Liquor, bicker, flicker, picker, quicker, sticker, thicker, 

wicker. 
Listen, glisten. 
Litter, bitter, fitter, glitter, hitter, pitter, quitter, titter, 

twitter. 
Little, brittle, tittle. 
Liver, giver, quiver, river, shiver. 
Lizard, dizzard, gizzard, wizard. 
Lonely, only. 

Longing, thronging, wronging. 
Loudly, proudly. 



Maker, acre, baker, quaker, raker, shaker, staker, taker. 
Making, aching, awaking, breaking, forsaking, quaking, 

raking, taking, waking. 
Mallow, callow, fallow, shallow, tallow, yellow. 
Mangle, angle, dangle, jangle, strangle, tangle, wrangle. 
Marry, carry, harry, tarry. 
Matcher, latcher, thatcher, watcher. 
Matin, latin, satin. 
Matron, patron. 
Measure, pleasure, treasure. 
Merry, berry, bury, cherry, derry, ferry, sherry, very, 

wherry. 
Mettle, fettle, kettle, metal, nettle, settle. 



A DICTIONARY OF DOUBLE RHYMES. 267 

Middle, diddle, fiddle, riddle, twiddle. 
Miller, driller, filler, killer, siller, tiller. 
Mingle, dingle, ingle, jingle, shingle, single. 
Minion, opinion, pinion. 
Money, funny, honey. 

Morning, adorning, dawning, scorning, warning. 
Morrow, borrow, sorrow. 
Mother, another, brother, smother. 
Motion, emotion, notion, ocean, potion. 
Motto, grotto. 
Mountain, fountain. 
Muddy, ruddy, study. 

Mumble, crumble, fumble, grumble, humble, jumble, 
rumble, stumble, tumble. 



Nation, creation, legation, obligation, ration, station. 
Nearer, clearer, dearer, hearer, rearer, steerer. 
Nearest, clearest, dearest, fearest, hearest, queerest. 
Needful, heedful. 
Needing, breeding, feeding, leading, pleading, reading, 

weeding. 
Needle, beadle, tweedle, wheedle. 
Needy, greedy, seedy, speedy, weedy. 
Nether, feather, leather, tether, together, weather. 
Nettle, fettle, kettle, mettle, settle. 
Never, endeavour, ever, sever. 
Newness, fewness, trueness. 
Nibble, dribble, fribble, scribble. 
Notion, emotion, motion, ocean, potion. 
Number, encumber, lumber, slumber. 



Ocean, emotion, motion, notion. 

Offer, coffer, proffer, scoffer. 

Only, lonely. 

Oral, choral, floral. 

Other, another, brother, mother, smother. 

Outer, doubter, pouter, touter. 

Over, clover, drover, rover, trover. 



268 A HANDBOOK OF POETRY. 

Painting, fainting, tainting. 

Paling, ailing, bailing, failing, hailing, railing, sailing, 

wailing, whaling. 
Patent, latent. 
Pattern, slattern. 
Pealing, dealing, feeling, healing, reeling, revealing, 

stealing. 
Pedler, medler. 

Peeper, keeper, leaper, sleeper, weeper. 
Pension, mention, tension. 
Perish, cherish. 
Pillage, tillage, village. 
Pillow, billow, willow. 
Pimple, dimple, simple, wimple. 
Pining, divining, lining, mining, reclining, shining, 

twining, whining. 
Pinion, minion, opinion. 
Piper, griper, viper. 
Pitcher, ditcher, hitcher. 
Pittance, quittance. 
Planted, enchanted, granted. 
Platter, batter, fatter, hatter, matter. 
Player, prayer, slayer, stayer. 
Playing, delaying, laying, maying, neighing, obeying, 

staying, straying, weighing. 
Pleading, breeding, feeding, heeding, leading, needing, 

reading, weeding. 
Pleasure, measure, treasure. 
Ploomy, bloomy, gloomy, roomy. 
Poker, joker, provoker, smoker. 
Ponder, fonder, yonder. 
Portal, mortal. 
Posies, discloses, roses. 
Pottle, bottle, mottle, throttle. 
Prattle, battle, cattle, rattle, tattle. 
Proctor, doctor. 
Proffer, coffer, offer, scoffer. 
Purely, demurely, surely. 



Quaker, acre, baker, breaker, maker, raker, shaker, staker. 



A DICTIONARY OF DOUBLE RHYMES. 269 

Quaking, aching, awaking, baking, breaking, forsaking, 

making, raking, shaking. 
Quicker, bicker. (See Liquor.) 
Quittance, pittance. 



Kaftee, after, hereafter, laughter, waiter. 

Raging, waging. 

Railing, bailing, failing, hailing, nailing, paling, quailing, 

railing, sailing, tailing, veiling, wailing, whaling. 
Raker, baker, laker, maker, quaker, staker, taker. 
Raking, aching, awaking, baking, breaking, forsaking, 

laking, making, quaking, taking, waking. 
Ramble, amble, bramble, gamble, scramble. 
Ranger, danger, manger, stranger. 
Ranter, banter, canter, panter. 
Rarely, barely, sparely. 

Rarer, bearer, carer, darer, fairer, pairer, starer, wearer. 
Rarest, bearest, carest, darest, fairest, wearest. 
Ration, creation, legation, nation, obligation. 
Raven, craven, graven, haven, shaven. 
Reading, breeding, feeding, heeding, leading, needing, 

weeding. 
Ready, heady, steady. 
Reason, season, treason. 
Reckons, beckons. 

Reeling, dealing, feeling, healing, kneeling, stealing. 
Render, bender, fender, gender, lender, mender, slender, 

splendour, sender, tender. 
Rending, bending, ending, lending, mending, sending, 

tending, wending. 
Riddle, fiddle, middle, twiddle. 
Rider, bider, cider, divider, hider, sider, wider. 
Riding, biding, guiding, hiding, tiding. 
Righted, blighted, delighted, lighted, plighted, quited, 

united. 
Ringer, bringer, dinger, singer, flinger. 
Ringing, bringing, clinging, flinging, singing, slinging, 

stinging, swinging, winging. 
Riper, griper, piper, viper. 



270 A HANDBOOK OF POETRY. 

Etpple, cripple, dipple, nipple, tipple. 

Riven, driven, given, striven. 

River, giver, liver, quiver, shiver. 

Roaster, boaster, coaster. 

Rolling, bowling, strolling, tolling. 

Roomy, bloomy, gloomy, ploomy. 

Roses, closes, discloses, Moses, noses, posies. 

Rostrum, nostrum. 

Rounded, bounded, founded, bounded, pounded, sounded. 

Rover, clover, over. 

Rowing, blowing, flowing, going, hoeing, knowing, lowing, 

mowing, showing, towing. 
Rumble, grumble, humble, jumble, mumble, stumble, 

tumble. 
Runnel, funnel, gunnel, tunnel. 

Sadness, gladness, madness. 

Sailing, ailing, bailing, failing, paling, wailing. (See 
Ailing.) 

Sailor, bailer, nailer, railer, tailor. 

Saintly, faintly, quaintly. 

Sandy, bandy, candy, dandy, handy. 

Satin, latin, matin. 

Sawyer, lawyer. 

Scarlet, varlet. 

Scoffer, coffer, offer, proffer. 

Scorning, adorning, dawning, fawning, morning, warning. 

Scrambler, ambler, clambler, gambler, rambler. 

Scraper, draper, paper, taper. 

Scribbler, nibbler. 

Season, reason, treason. 

Sedgy, ledgy. 

Seeming, beaming, dreaming, gleaming, streaming, teem- 
ing. 

Seller, cellar, dweller, feller. 

Semble, resemble, tremble, 

Sender, bender, fender, gender, lender, mender, render, 
tender, vendor. 

Sending, bending, ending, lending, rending. (See Bendtng.) 

Sentry, entry, gentry. 



A DICTIONARY OF DOUBLE RHYMES. 271 

Settle, fettle, kettle, mettle, nettle. 

Sevee, endeavour, ever, never. 

Shackle, hackle, tackle. 

Shallow, callow, fallow, mallow, yellow. 

Shameful, blameful. 

Shaven, craven, graven, haven, raven. 

Shining, dining, fining, lining, mining, pining, twining, 

whining. 
Shiver, giver, liver, quiver, river. 
Showery, flowery, lowery. 
Sickle, fickle, pickle, prickle, tickle. 
Sidle, bridle, idle. 
Sighing, buying, dying, flying, hieing, lying, prying, 

trying, vieing. 
Simple, dimple, pimple, wimple. 
Singer, bringer, flinger, ringer. 
Singing, bringing, clinging, ringing, winging. (See 

Bringing.) 
Single, dingle, ingle, mingle, shingle. 
Sinking, drinking, stinking, thinking, winking. 
Sinner, dinner, pinner, thinner, winner. 
Skipper, clipper, nipper, shipper, snipper. 
Slaughter, daughter, water. 
Sleeper, deeper, keeper, leaper, peeper, reaper, steeper, 

weeper. 
Sleeping, creeping, heaping, keeping, leaping, peeping, 

reaping, steeping, weeping. 
Slender, defender, render, sender, splendour, tender. 
Slighted, blighted, delighted, lighted, plighted, righted, 

united. (See Blighted.) 
Slighter, brighter, fighter, lighter, mitre, nitre, whiter. 
Slumber, encumber, lumber, number. 
Smiter, biter, brighter, fighter, inviter, plighter, reciter, 

writer. 
Smoker, joker, poker, provoker. 
Smother, brother, mother, other. 

Sneaker, beaker, meeker, seeker, speaker, squeaker, weaker. 
Sorrow, borrow, morrow. 
Sounding, bounding, founding, grounding, resounding, 

rounding. 



272 A HANDBOOK OF POETRY. 

Spanker, banker, canker, hanker, lanker, thanker. 

Sparely, barely, fairly, rarely. 

Sparing, airing, bearing, caring, daring, faring, pairing, 

paring, sharing, swearing, tearing, wearing. 
Speaking, ekeing, reeking, sneaking, tweaking. 
Speckle, freckle. 
Speeded, heeded, needed, unheeded, weeded. 

Speedy, greedy, needy, reedy, seedy, weedy. 

Spoken, broken, token. 

Sported, courted, sorted. 

Sprawler, brawler, crawler, drawler. 

Sprinkle, tinkle, winkle, wrinkle. 

Sprinkling, inkling, tinkling, twinkling, wrinkling. 

Stainer, drainer, feigner, gainer, plainer, strainer, 
trainer. 

Standing, banding, handing, landing. 

Station (See Nation.) 

Stayer, player, prayer, slayer, weigher. 

Steady, heady, ready. 

Stealing, dealing, feeling, healing, pealing, reeling, re- 
vealing. 

Stifle, rifle, trifle. 

Stranger, danger, ranger. 

Strangle, angle, dangle, jankle, mangle, tangle, 
wrangle. 

Straying, braying, delaying, flaying, laying, maying, 
neighing, obeying, playing, praying, weighing. 

Strengthen, lengthen. 

Striding, biding, chiding, hiding, riding. 

Striven, driven, given, riven. 

Stroller, controller, roller. 

Stronger, longer. 

Stumble, rumble, tumble. 

Sunder, blunder, plunder, thunder, under, wonder. 

Surely, demurely, purely. 

Sutler, butler, cutler. 

Swearer, bearer, carer, darer, fairer, pairer, rarer, starer, 
wearer. 

Sweetness, fleetness, neatness. 

Swelling, dwelling, telling, welling. (See Dwelling.) 

Swimmer, simmer, skimmer. 



A DICTIONARY OF DOUBLE RHYMES. 273 

Tackle, cackle, hackle. 

Tailor, bailor, nailer, railer, sailor, whaler. 

Taken, forsaken, shaken, waken. 

Talker, banlker, stalker, walker. 

Taking, aching, awaking, breaking, forsaking, making, 
quaking, raking. 

Talking. (See Walking.) 

Tamely, gamely, lamely, samely. 

Tangle, angle, dangle, mangle, strangle, tangle. 

Taper, draper, paper, scraper. 

Tarnish, garnish, varnish. 

Tarried, earned, married, parried. 

Tasker, asker. 

Tasted, basted, hasted, wasted. 

Tattle, battle, cattle, prattle, rattle. 

Tearful, cheerful, fearful. 

Teasing, leasing, pleasing, sneezing. 

Tender, fender, lender, render, sender, slender, splendour, 
vendor. 

Tending, bending, blending, ending, lending, mending, 
rending, sending, spending, tending, vending, wend- 
ing. 

Tether, feather, leather, nether, together, weather. 

Thatcher, latcher, matcher, patcher. 

Thieving, leaving, weaving. 

Thistle, bristle, epistle, whistle. 

Thither, hither, wither. 

Thresher, rasher. 

Thronging, longing. 

Throwing, blowing, crowing, flowing, glowing, going, 
knowing, lowing, mowing, owing, rowing, showing, 
snowing, stowing. 

Thunder, blunder, plunder, sunder, under, wonder. 

Tillage, pillage, village. . 

Tiller, driller, miller, siller. 

Tipple, cripple, nipple, ripple, stipple. 

Tittle, brittle, little. 

Toaster, boaster, coaster, roaster. 

Token, broken, spoken. 

Tournay, journey. 



274 A HANDBOOK OF POETRY. 

Trading, aiding, braiding, degrading, evading, fading, 

jading, lading, shading, wading, &c * 
Trainer, drainer, gainer, plainer, strainer, stainer. 
Traitor, crater, debater, hater, later, mater, praetor, 

prater, stater, waiter. 
Traveller, raveller. 
Treason, reason, season. 
Treasure, measure, pleasure. 

Treating, beating, greeting, meeting, seating, sheeting. 
Tremble, assemble, resemble. 
Trencher, bencher, clencher, drencher, quencher, 

wrencher. 
Trifler, rifler. 
Trueness, fewness, newness. 
Tumble, crumble, fumble, grumble, humble, jumble, 

mumble, rumble, stumble. 
Tumbler, grumbler, rumbler. 
Tweedle, beadle, needle, wheedle. 
Twining, dining, divining, fining, lining, mining, pining, 

reclining, repining, shining, whining.f 
Twinkle, inkle, sprinkle, tinkle, wrinkle. 
Twister, blister, hiss'd her, kiss'd her, miss'd her, sister, 
Twitter, bitter, fitter, fritter, glitter, hitter, litter, sitter 

Varnish, garnish, tarnish. 

Venter, centre, renter. 

Very, berry, bury, cherry, Deny, ferry, merry, perry, 

wherry. 
Victor, lictor. 
Village, pillage, tillage. 
Vineyard, inn-yard, skin-yard. 
Vintage, mintage. 
Vintry, wintry. 
Viper, griper, piper, riper. 
Voter, quoter. 
Vowing, bowing, cowing, ploughing. 

* See ADE, in Dictionary of Rhymes. 
T See INE, ibid. 



A DICTIONARY OF DOUBLE RHYMES, 275 

Wading, aiding, fading, lading, trading. 

Wailing, ailing, bailing, failing, hailing, nailing, paling, 

qnailing, railing, sailing, tailing, ve ilin g, whaling. 
Waken, forsaken, taken. 
Waking, aching, breaking, forsaking, making, quaking, 

raking, taking. 
Walking, baulking, caulking, stalking, talking. 
Warning, adorning, dawning, morning, scorning. (Se-: 

Dawning.) 
Wasted, basted, hasted, pasted, tasted. 
Wearer, bearer, carer, darer, fairer, pairer, rarer, starer, 

swearer. 
Weakest, bearest, carest, darest, fairest, rarest. 
Wearing, bearing, caring, daring, faring, paring, staring, 

swearing. 
Weather, feather, leather, tether, together, whether. 
Weaving, cleaving, deceiving, grieving, heaving, leaving, 

thieving. 
Weeding, breeding, feeding, heeding, leading, needing. 

reading. 
Weeper, keeper, peeper, sleeper. 
Weepdjg, creeping, heaping, keeping, peeping, sleeping, 

steeping, sweeping. 
Welling, belling, dwelling, felling, foretelling, quelling, 

selling, spelling, swelling, telling. 
Wending, bending, intending, lending, mending", offend- 
ing, pending, rending, sending, tending. (See Bending.) 
Wheedle, beadle, needle, tweedle. 
Wherry, berry, cherry, ferry, merry, sherry, very. 
Whining, pining, shining, twining. 
Whistle, bristle, epistle, thistle. 
Whiten, brighten, lighten. (See Brighten.) 
Whiter, biter, brighter, lighter, nitre, slighter, writer. 

I See Brighter.) 
Wider, bider, cider, divider, hider, sider. 
Wild-wood, childhood. 
Willow, billow, pillow. 
Wimple, dimple, pimple, simple. 
Winging, bringing, clinging, flinging, singing, springing, 

stinging, swinging. 



t 2 



276 A HANDBOOK OF POETRY. 

Winking, drinking, sinking, stinking, thinking. 
Winning, beginning, dinning, grinning, pinning, sinning, 

thinning. 
Withee, hither, thither. 
Wrangle, dangle, mangle, spangle, tangle. 
Wrinkle, inkle, sprinkle, tinkle, twinkle. 



The foregoing list contains all the Double Rhymes likely 
to be required, and they are arranged so as to be seen at 
a glance. Should others be wanted, they can be easily 
found by consulting the Dictionary of Single Rhymes, 
and adding the termination of the rhyme in question to 
the examples contained therein. 



WOKDS OF THEEE SYLLABLES, 
ACCENTED ON THE FIRST. 

(Commonly called Treble Khymes.) 



Ajiblingly, ramblingly, Cherry-cheeked, merry- 

scramblingly. cheeked. 

Article, particle. Chorally, florally, orally. 

Attitude, gratitude, plati- Clarion, carrion. 

tude, latitude. Clarity, charity, disparity. 

Awfulness, lawfulness. Cookery, rookery. 

Coppery, foppery. 
-r, n , , Copulate, populate. 

Battery, flattery. Coterie, notary, rotary, 

Beamingly, seemingly, teem- vo f arv 

ln g J -y- Crazily, hazily, lazily. 

Beauteous, duteous. Creditor, editor. 

Beautiful, dutiful. Crustily, dustily, fustily, 

Blamefully, shamefully. ^ ^^ J mustil / 

Borrower, sorrower Culminate, fulminate. 

Bowery, flowery, lowery, CuE durable> 

showery. 

BOUNDINGLY, SOUndingly. TJ ARrNGLYj sparingly. 

Bravery knavery, slavery. Dea gree nery, scenery. 

Brevity, levity Decency, recency. 

Brittleness, httleness. Decently, recei /tl v . 

Brotherly, motherly, south- DevileYj revelry> 

-r, 6 *^' v Disbelief, misbelief. 

Burliness, surliness. Doggishly, hoggishly. 

Dominate, abominate, nomi- 
Calf-witted, half-witted. nate. 

Carefully, darefully. Drapery, tapery, vapoury. 

Cheerfulness, fearfulness. Durable, curable. 
Cheerily, merrily, verily. Durity, futurity, maturity, 
Cheerlessly, fearlessly, purity, 
peerlessly, tearlessly. Duteous, beauteous. 



278 



A HANDBOOK OF POETRY. 



Dutiful, beautiful. 

Editok, creditor. 
Evermore, nevermore. 

Tearfulness, cheerfulness, 

tearfulness. 
Flatterer, scatterer, smat- 

terer. 
Flattery, battery. 
Flowingly, knowingly. 
Flummery, mummery. 
Foppery, coppery. 
Fulminate, culminate. 

Granary, planary. 

Gratify, ratify. 

Gratitude, attitude, latitude, 

platitude. 
Greedily, needily, speedily. 
Gunnery, nunnery. 

Half-witted, calf-witted. 
Heedfully, needfully. 
History, mystery. 
Hoggishly, doggishly. 
Holiness, lowliness. 
Humanly, womanly. 
Humankind, womankind. 

Jealously, zealously. 

Killlngly, willingly. 
Knavery, bravery, slavery. 
Knowingly, flowingly. 



Lazily, crazily, hazily. 
Lechery, treachery. 
Legally, regally. 
Levity, brevity. 
Littleness, brittleness. 
Livery, shivery. 
Locally, vocally. 
Lottery, pottery, tottery. 
Loyalist, royalist. 
Loyally, royally. 
Lowliness, holiness. 
Lustily, crustily, dustily, 

mustily. 
Lustiness, fustiness, musti- 

ness, trustiness. 

Massiveness, passiveness. 

Master-hand, faster hand. 

Master-stroke, faster stroke. 

Merrily, cheerily, verily. 

Merry-cheeked, cherry- 
cheeked. 

Misbelief, disbelief. 

Motherly, brotherly, south- 
erly. 

Motionless, notionless, 
oceanless. 

Movable, provable. 

Mummery, flummery. 

Musttly, crustily, dustily, 
lustily. 

Mustiness, fustiness, lusti- 
ness, trustiness. 

Mutineer, scrutineer. 

Mystery, history, his story. 



Latitude, attitude, grati- Needfully, heedfully. 

tude, platitude. Need fly, greedily, speedily. 

Laughable, quafiable. seedily. 

Lawfully, awfully. Nominate, abominate, domi-, 

Lawfulness, awfulness. nate. 



A DICTIONARY OF TREBLE RHYMES. 279 



Notary, votary, rotary. 
Notionless, motionless, 

oceanless. 
Nunnery, gunnery. 

Particle, article. 

Passiveness, massiveness. 

Pitiful, city full. 

Platitude,' attitude, grati- 
tude, latitude. 

Populate, copulate. 

Popery, ropery. 

Provable, movable. 

Purity, durity, futurity, ma- 
turity, security. 

Quaffable, laughable, chaff- 
able. 

Ratify, gratify. 

Readily, steadily. 

Readiness, steadiness. 

Recency, decency. 

Recently, decently. 

Regally, legally. 

Revelry, devilry. 

Reverend, never end. 

Risible, visible. 

Rookery, cookery. 

Ropery, popery. 

Rotary, coterie, notary, vo- 
tary. 

Royalist, loyalist. 

Royally, loyally. 

Ruthfully, truthfully 
youthfully. 

Sanity, urbanity, vanity. 
Scenery, deanery, greenery. 
Scrutineer, mutineer. 
Seemingly, beamingly. 



Sensible, fencible, reprehen- 
sible, tensible. 

Serpentine, turpentine. 

Shamefully, blamefully. 

Shivery, livery. 

Showery, bowery, flowery. 

Silvery, still very. 

Slavery, bravery, knavery. 

Slenderly, tenderly. 

Smatteree, flatterer. 

Sorrower, borrower. 

Soundingly, boundingly. 

Southerly, brotherly, mo- 
therly. 

Sparingly, daringly. 

Speedily, greedily, needily. 

Spectacle, receptacle. 

Steadily, readily. 

Stealingly, feelingly. 

Stimulate, simulate. 

Steadiness, headiness, readi- 
ness. 

Surliness, burliness. 

Swingingly, clingingly, ring- 
ingly. 

Tapery, drapery. 

Tellingly, swellingly. 

Tenderly, slenderly. 

Terrify, verify. 

Tensible, fencible, sensible. 

Tottery, lottery, pottery. 

Treachery, lechery. 

Trustiness, fustiness, lusti- 
ness, mustiness. 

Truthfully, ruthfully, 
youthfully. 

Turpentine, serpentine. 

Vanity, sanity, urbanity. 
Yerify, terrify. 



280 A HANDBOOK OF POETRY. 

Verily, cheerily, merrily. Willingly, killingly. 

Verity, dexterity, temerity. Womankind, humankind. 

Visible, risible. -^ , , , , 

Vocally, locally. Yesterdays, best o days, 
Votary, coterie, notary, P est ° da ^' q™st o days. 

rotarv J Youthfully, ruthfully, 

° a 7 * truthfully. 

"Widgeon, pigeon. Zealously, jealously. 




TERMS USED IN POETRY 



POETICAL CRITICISM. 



TEEMS USED IN POETRY 

AND POETICAL CRITICISM. 



Accent. The part of a word or sentence on which the 

stress is laid. 
Accentuation. Making the accents. 
Accidence. The arrangement of words according to then- 
sense. 
Acrostic A poem, the lines of which are so arranged 

that the first letter of each forms a word or name. 
Adonic. A short verse in which the death of Adonis is 

bewailed. 
Afflatus. The influence which conveys the power of the 

poem to the mind of the reader. Tully attributes all 

great actions to the diviue afflatus. 
Alexandrine. A line of verse consisting of twelve syl- 
lables, or twelve and thirteen syllables alternately, the 

pause being on the sixth syllable. 
Allegory [See page 70.] 
Alliteratidn. A repetition of the same consonants or 

syllables of the same sound in one sentence. 
Amphibrach. A foot of three syllables, the middle one 

long, the first and last short. 
Anadiplosis. A figure in poetry, when the last word or 

words of a sentence are- repeated at the beginning of 

the next. 
Anagram. A transposition of the letters of a word by 

which another word is formed. 
Analecta. A collection of extracts. 
Anapest. A foot consisting of three syllables, the first 

two short, the last long. 
Anapesttc. The anapestic measure. 



284 A HANDBOOK OF POETRY. 

Anaphora. A repetition of the same word or phrase at 

the commencement of successive phrases. 
Anastrophe. An inversion of the natural order of words. 
Anglicism. The idiom of speech peculiar to the English. 
Annotation. A brief commentaiy on a book or poem. 
Antepenult. The last syllable but two of a word. 
Antepenultimate. Pertaining to the last syllable but 

two. 
Antepositton. The placing of one word before another. 
Anthology. A collection of beautiful passages from 

various authors ; a collection of poems. 
Antithesis. [See page 69.] 
Antithetic Abounding with antitheses. 
Aphorism. A precept or sentiment briefly expressed. 
Apocopate. To cut off or drop the last letter or syllable 

of a word. 
Apocopated. Shortened by the omission of the last letter 

or syllable. 
Apologue. A poetical fiction ; a moral fable. 
Apostrophe. A figure, in which the poet turns from his 

subject to address his reader or some absent person. 
Argument. The heads of a poem divided into books or 

parts, giving their subject-matter. 
Attic Applied to style. An Attic style — pure, classical, 

and elegant. 
Aurigraphy. The art of writing with liquid gold. 
Auscultatory. Pertaining to hearing or listening. 

Ballad. Originally, a lyric composition, or tale in verse ; 

now applied to a short poem set to music. 
Bard. Originally, a semi-barbarous poet ; now applied to 

any professor of verse. 
Bathos. Ludicrous, unmeaning writing. 
Bombast. An inflated style of composition. 
Bouts-rimes. Rhymes disposed in order, and given to a 

versifier to fill up. 
Bucolic A poem relating to rural affairs, chiefly in 

ancient poetry. 
Burden. The part of a song which is repeated at the end 

of each verse. 

Cadence. The flow or periods of verses. 



TERMS USED IN POETRY. 285 

Cantata. A composition consisting of recitatives, stanzas, 

and different movements intended to be sung. 
Canto. The part or division of a poem. 
Cap. To cap verses ; to name alternately verses beginning 

with, a particular letter ; to quote verses in opposition 

or emulation. 
Catastasis. The third part of the ancient drama, where 

the plot is heightened before coming to the close. 
Catastrophe. The close of a drama, in which the plot is 

cleared up. 
Chorus. In ancient dramatic poetry, the person placed on 

the stage to explain the progress of the drama, where 

not sufficiently indicated by the action. 
Copy. The manuscript prepared for the press. 
Critic A person who ought to be able to judge of a 

literary composition according to the rules of art. 
Crudity. A subject not sufficiently thought out. 
Culmination. Used metaphorically to express the end or 

most brilliant part of a composition. 

Dactyl. A poetical foot consisting of three syllables, the 

first long, the others short. 
Dactylic A line consisting wholly of dactyls. 
Dactylist. One who writes flowing verse. 
Didactic Poetry intended to instruct, or full of moral 

axioms. 
Diminutive. A word which lessens an original word, as 

river, rivulet. 
Dirge. A song of sorrow or mourning. 
Double Entendre. A French term, which implies a 

covert as well as an obvious meaning. 
Doxology. A hymn of praise of the Almighty. 
Drama. All compositions adapted for the stage. 

Echo. In poetry, the last syllable of a verse repeated in 

a new sense. 
Eclogue. A pastoral poem; any short, simple, and 

natural poem. 
Elegance. In literature, any composition in. which the 

sense is expressed in a happy, correct, and appropriate 



286 A HANDBOOK OF POETRY. 

Elegiac. Belonging to elegy ; plaintive ; expressing sor- 
row or lamentation. 
Elegy. A plaintive and mournful poem addressed to 

some person or place, as Gray's " Elegy in a Country 

Churchyard." 
Elision. The suppressing a vowel at the end of a word 

to shorten the sound or measure. 
Enclitic A word so closely united to another as to 

seem a part of it. 
Enclitical. Throwing back the accent on the former 

syllable. 
Epic A poem narrating a story, generally heroic; now 

used to express any long poem written in a grave or 

elevated style. 
Epigeam. A short satirical poem, generally of a personal 

nature. 
Epiploce. A figure of speech by which one striking cir- 
cumstance is added to another. 
Episode. A separate incident or story introduced within 

another. 
Episteophe. A figure in which several interrogations are 

put, and answered in the affirmative one after the 

other. 
Epitaph. • Lines inscribed on a monument. 
Epithalamium. A nuptial song. 
Epode. The third or last part of an ode. 
Epopee. The subject of an epic poem. 
Equivoque. A word or sentence susceptible of different 

meanings. 
Essay. A composition illustrative of any particular 

subject. 
Euphony. An easy and smooth manner. 
Exoedium. The commencement of a speech or subject. 



Eable. A fictitious narrative from which a moral is 

drawn. 
Feeling. In poetry, the pathos with which a poem is 

imbued. 
Ejgueative. Applied to poetry in which metaphors are 

employed to express the literal meaning. 



TERMS USED IN POETRY. 287 

Foot. A certain number of syllables forming part of a 

line of verse. 
Fustian. An inflated style of writing, high- sounding, 

but with little meaning. 

Genius. The power of inventing new and original forms ; 

a true poet as distinguished from a mere versifier. 
Geotesque. Whimsical extravagant writing. 

Harmony. The agreement between the several parts of 

a poem. 
Heeo. The principal person in a poem. 
Hexametee. In classical poetry, a verse of six feet, the 

first four of which must be dactyls or spondees, and 

the sixth always a spondee. 
Homeeic In the manner of Homer, or the poetry of 

ancient Greece. 
Humoue. Comic verse less brilliant than wit, but more 

genial. 
Hypeebole. An exaggerated description of anything — a 

fault very common to young authors. 
Hypeecatalectic In classical verse, a line which has a 

syllable or two beyond the proper measure. • 
Hypeeceitic One who finds fault without reason, and 

frequently without knowledge — a being not unknown 

in periodical literature. 
Hypeemetee. More than the ordinary measure. 
Hypobole. A figure in which several things are men- 
tioned going against the argument, but which are each 

refuted in order. 
Hypothesis. Something assumed, but not proved; an 

imagined theory. 

Iambic Pertaining to the Iambus. 

Iambus. A foot of two syllables, the first short, the last 

long, as " declare." 
Idea. The thing which is conceived by the mind ; the 

subject matter of a poem. 
Ideal. The imaginary model of perfection, as the ideal 

of beauty. There are also ideals of the hateful or 

horrid. 



288 A HANDBOOK OF POETRY. 

Ideographic. Writing which expresses the ideas and not 
the sound. 

Idiom. A word peculiar to a language that cannot be 
literally translated. Translators must find out a cor- 
responding idiom in the language into which they are 
translating. 

Idyl. A short poem, generally pastoral, but sometimes 
applied to heroic poems, such as Tennyson's " Idyls of 
the King." 

Image. In poetry, a description of anything which con- 
veys a picture to the mind. 

Improvisators One who composes or recites verses ex- 
temporaneously. 

Intuition. The act of the mind in instantly perceiving 
an idea. 

Invention. What the poet adds to the facts of his 
subject. 

Jargon. Confused unintelligible language. 
Jeu de mots. A play upon words ; a pun. 
Jeu d'esprit. A witticism; a play of wit. 
Johnsonism. A peculiar word or manner of Dr. Johnson. 

Keeping — " in keeping." Denoting the just proportion 
and relation of several parts. 

Laureate. " An officer of the Eoyal household, whose 
business is to compose an ode annually for the Sove- 
reign's birthday." — Webster. 

License. Poetic licence — where the poet goes out of the 
way to express an idea, or gives a word a meaning other 
than its literal one. 

Lyre. An imaginary instrument attributed by poets to 
Apollo and the Muses. 

Lyric. An ode suited to be sung ; a short poem. 

Manuscript. Writing of any kind; in literature, the 

" copy " prepared for the printer. 
Measure. A certain number of syllables metrically 

measured. 
Metaphor. [See page 68.] 
Metaphrasis. A literal translation. 



TERMS USED IN POETRY. 289 

Metathesis. A figure by which the letters or syllables 

of a word are transposed. 
Metre. The system of feet composing a line of verse. 
Morality. An ancient allegorical play, extinct after the 

reign of Henry VIII. 
Muse. The deity or power of poetry. 
Muses. In mythology, the nine sister goddesses supposed 

to preside over the liberal arts. 
Musical. Applied to verse when smooth and flowing. 

Neology. The introduction of new words. 
Humbebs. In poetry, the harmony, order, and quantity of 
the syllables forming the feet. 

Octavo. A sheet folded into eight leaves or sixteen pages. 
Ode. A short poem; formerly, a poetical composition 

proper to be set to music. 
Opera. A dramatic composition of which music is the 

essential part. 

Palaeography. A description of ancient writings, &c. 

Paragram. A play upon words. 

Paragraph. A section or portion of a writing. 

Paralogism. A false reasoning. 

Paraphrase. The turning of the language of an author 
by another into his own. 

Parody. A serious work burlesqued. In a close parody 
the rhymes, words, and cadences of the original are ob- 
served, while the thoughts are diverted to another object. 

Pasquinade. A lampoon ; satirical writing. 

Passage. A single clause, place, or part of a poem. 

Pastoral. A poem descriptive of country life. 

Patavinity. The use of local words. 

Pentameter. A line consisting of five feet. The first 
two may be dactyls or spondees, the third must be 
a spondee, and the last two anapests. 

Penultimate. The last but one ; the last syllable but one 
of a word, the antepenultimate being the last but two. 

Peroration. The conclusion of an oration. 

Pindaric An ode in imitation of the style of Pindar. 

Poem. A composition in blank verse or rhyme; applied to 
other compositions of a highly imaginative character. 

u 



290 A HANDBOOK OF POETRY. 

Poesy. A motto engraved on a ring ; poetry. 

Poet. One who has a genius for metrical composition, as 
distinct from a mere versifier. 

Poetaster. A petty poet ; a mere rhymester. 

Poetical. Suitable to poetry. 

Poetical Justice. The distribution of the rewards and 
punishments of the characters introduced into a play 
or poem. 

Poetics. The doctrine of poetry. 

Poetize. To write as a poet. 

Poe t-Musician. An appellation given to a bard of former 
times ; one who composes both the words and music of 
his songs, as Charles Dibdin, and Samuel Lover. 

Posthumous. Published after the death of the author. 

Prologue. An address delivered to the audience previous 
to the commencement of a play. 

Punctuation. The marks used to distinguish the con- 
struction of a sentence. 

Pyrrhic. A foot of two short syllables. 

Quantity. Poetic measure. 

Quarto. A sheet folded twice, to make tour leaves; a 

book thus folded so called. 
Quatrain. A verse of four lines rhyming alternately. 

Radix. A primitive word from which other words spring. 

Realism. The opposite of Idealism. 

Recitative. Poetry written to be chanted, by which the 
action of an opera is carried on ; sometimes used as a 
short introduction to a song, as in " The Death of 
Nelson." 

Replication. Using the same term twice in one propo- 
sition. 

Requiem. A prayer written to be sung. 

Rhyme. [See page 7.] 

Rhythm. [See page 23.] 

Romance. A tale or fictitions history. 

Rondeau. An old-fashioned species of poetry, consisting of 
thirteen verses, of which eight are in one kind of rhyme 
and five in another, with the same word at the begin- 
ning and the end. Called also Roundel and Roundelay. 



TERMS USED IN POETRY. 291 

Sapphic. Pertaining to Sappho, a Grecian poetess. The 
Sapphic verse consists of five feet, of which the first 
two are trochees, the second a spondee, and the third a 
dactyl. 

Scan. To examine a verse by counting the feet. 

Sentiment. In poetry, the thoughts which the several 
persons express; the general feeling and tone of the 
poem. 

Sextain. A poem of six verses. 

Sibyls. In antiquity, certain women supposed to be 
endowed with power to prophesy. Their oracles were 
written in verse on leaves, which were called " Sibylline 
verses : " the term is sometimes applied to modern verse 
of a prophetic character. 

Simile. A comparison of two things which, though 
differing in name, are made to agree. 

Song. A short poem written to be sung, and embodying a 
sentiment; the poetry of the people. 

Sonnet. [See page 47.] 

Spondee. A foot of two long syllables. 

Spenseeian Stanza. [See page 29.] 

Stanza. A number of lines or verses connected with each 
other. Some authors persist in calling every verse a 
stanza. 

Strophe. In ancient lyric poetry, the first of two stanzas, 
the antistrophe being the second. 

Style. Mode or peculiar method of an author. 

Syllabication. The act of forming syllables or dividing 
words. 

Syllabus. The heads of a poem. 

Syllepsis. A figure by which we conceive the sense of 
the words otherwise than the words' import, and con- 
strue them according to the intention of the author. 

Syllogism. Reasoning reduced to form and method. 

Tercet. A triplet; a verse of three lines rhyming to- 
gether. 

Terse. Clearly written. 

Terseness. Closeness of style; smoothness of language. 

Terza Rima. A system of versification borrowed by the 
early Italian poets from the Troubadours. 



292 A HANDBOOK OF POETRY. 

Thesis. A position or proposition ; a theme. 

Tragedy. A serious drama. 

Transition. The sudden leaving of one subject for 

another. 
Tmbrach. A foot of three short syllables. 
Trochee. A foot of two syllables, the first long, the 

second short. 
Trope. An expression used in a figurative sense. 

Unity. The consistency of one part of a play or poem to 
another. 

Versicular. Pertaining to verse. 

Verse. Poetry generally ; a division of a poem consisting 

of a certain number of lines, generally four, eight, or 

twelve. 
Versification. The practice of composing verse. 
Versified. Formed into verse. 
Versifier. One who writes in rhyme, but who is destitute 

of ideas. 
Versify. To turn into verse ; to make verses. 
Version. The particular rendering of a subject. 

Wit. The intellect ; the understanding or mental powers ; 
the association of ideas in a manner natural, but un- 
usual and striking, so as to produce surprise joined 
with pleasure. — Webster. 

Yarn. A seaman's story. 



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Obsolete words and usages are commented on in succinct notes, and there is 
an alphabetical index to all such explanations, so as to give the edition as 
much philological value as possible." — Literary Churchman. 
VI. 
THE GENTLE LIFE. Second Series. 

" There is not a single thought in the volume that does not contribute in 
some measure to the formation of a true gentleman." — Daily News. 

" These charming collection of essays." — London Review. 
VIII. 
VARIA : Readings from Rare Books. Reprinted, by permis- 
sion, from the Saturday Review, Spectator, &c. 

Contents : — The Angelic Doctor, Nostradamus, Thomas a Kempis, 
Dr. John Faustus, Quevedo, Mad. Guyon, Paracelsus, Howell the 
Traveller, Michael Scott, LodGwick Muggleton, Sir Thomas Browne, 
George Psalmanazar, The Highwaymen, The Spirit World. 

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IX. 

A CONCORDANCE OR VERBAL INDEX to the whole of 

Milton's Poetical Works. Comprising upwards of 20,000 References. 
By Charles D. Cleveland, LL.D. With Vignette Portrait of Milton. 

%* This work affords an immediate reference to any passage in any 
edition of Milton's Poems, to which it may be justly termed an indis- 
pensable Appendix. 

" An invaluable Index, which the publishers have done a public service 
in reprinting." — Notes and Queries. 

" By the admirers of Milton the book will be highly appreciated, but its 
chief value will, if we mistake not, be found in the fact that it is a compact 
word-book of the English language." — Reeord. 
X. 
THE SILENT HOUR : Essays, Original and Selected. By 
the Author of " The Gentle Life." 

Contents. 
How to read the Seriptures .... From the Homilies. 
Unreasonable Infidelity .... Isaac Barrow. 
The Great Loss of the Worldling . . . Richard Baxter. 

Certainty of Death Dean Sherlock. 

On the Greatness of God .... Massillon. 

Our Daily Bread Bishop Latimer. 

The Art of Contentment .... Archbishop Sandys. 

The Foolish Exchange Jeremy Taylor 

Of a Peaceable Temper Isaac Barrow. 

On the Marriage Ring ..... Jeremy Taylor 

Nearer to God Archbishop Sandys. 

The Sanctity of Home John Ruskin. 

The Thankful Heart Isaak Walton. 

Silence, Meditation, and Rest. 

And other Essays by the Editor, Second Edition. Nearly ready. 



Sampson Low and Co.'s 




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Milton's l'Allegro. 

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HE ROYAL COOKERY BOOK. By Jui.es Gouffe 

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Two Centuries of Song; or, Melodies, Madrigals, Sonnets, 
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List of Publications. 13 

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; HE Life of John James Audubon, the Naturalist, in- 
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Leopold the First, King of the Belgians ; from unpublished 
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List of Publications. 15 

The Open Polar Sea : a Narrative of a Voyage of Discovery 

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Life amongst the North and South American Indians. By 
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A Thousand Miles in the Rob Roy Canoe, on Rivers and Lakes 
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Description of the New Rob Roy Canoe, built for a Voyage 

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Letters on England. By M. Louis Blanc. Two Series, 

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16 Sampson Low and Co.'s 

Brazil and the Brazilians. Pourtrayed in Historical and De- 
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Old England. Its Scenery, Art, and People. By James M. 
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List of Publications. 17 

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List of Publications. 19 

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List of Publications, 21 

The Life of the late Dr. Mountain, Bishop of Quebec. 8vo. 
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The Mission of Great Sufferings. By Elihu Burritt. 12mo. 5s. 

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Faith's Work Perfected. The Eise and Progress of the Orphan 
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List of Publications. 23 



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Helen Felton's Question: a Book for Girls. By Agnes Wylde. 

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Tales for the Marines. By Walter Thornbury. 2 vols, post 

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24 Sampson Low and Co.'s List of Publications. 



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On the Heights. By B. Auerbach. Translated by Bun- 
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In the Year '13 : a Tale of Mecklenburg Life. By Fritz Reuter. 
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English, American, and Colonial Booksellers and Publishers. 

Chiswick Prees: — Whittingham and Wilkins, Tooks Court, Chancery Lane. 



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